Tennessee Musician, Spring 2015

The Official Publication of the Tennessee Music Education Association

TMEA Profiles in Excellence Series

Brenda Dent Gregory p.

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VOLUME 67, N O . 2

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TENNESSEE MUSICIAN TABLE OF CONTENTS | 2015 | VOLUME 67, No. 2

Editor’s Column Perspectives (letters to the editor) TMEA President’s Message The Score – News from Across the State TMEA Profiles in Excellence Series – Brenda Dent Gregory by Michael Chester

6 8 10 12 14

Teaching Leadership in our Orchestras

by Susan Mullen

18

What’s New in Music Technology

by Mike Klinger

20

TMEA Professional Development Conference Preview Information

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State General Music Chair Column State Choral Chair Column State Orchestra Chair Column State Band Chair Column State Higher Education Chair Column State Education Technology Chair Column TMEA Board and Council Directory Ad Index TMEA Back Then

32 34 36 38 40 42 44 47 48

The Official Publication of the Tennessee Music Education Association

2014-2016 EDITORIAL AND ADVISORY BOARDS * Denotes Chairperson

West Tennessee

East Tennessee

Tennessee Musician Editorial Staff

Dr. Betty Bedsole* Professor of Music Union University

Sandra B. Kerney Choral Director Ross N. Robinson Middle School

Dr. Catherine M. Wilson Senior Associate Editor of Business Affairs and Advertising

Dr. Carol King-Chipman Director of Bands & Associate Director of Bands Barret’s Chapel K-8 & Bolton High School

James D. Phillips Orchestra Director Oak Ridge High School

Justin T. Scott Associate Editor and Bureau Chief

J.D. Frizzell Director of Fine Arts Briarcrest Christian School

Kevin Smart Assistant Director of Bands Fulton High School

Ginna Houston Elementary Music Specialist Bells Elementary School

Gerald Jerome Souther Elementary Music Specialist Woodmore Elementary School

Dr. Andrew Palmer Orchestra Director & Strings Specialist White Station High School

Tennessee Musician Advisory Board

Laura Boucher Associate Style Editor

Middle Tennessee

Dr. Dru Davison Fine Arts Advisor Shelby County Schools

Matthew Clark Choral Director Oakland High School

Wincle Sterling Arts Instructional Advisor Shelby County Schools

Cameron M. Gish Director of Bands Hillsboro Elementary/Middle School

Dr. Nola Jones Coordinator of Music Metropolitan Nashville Public Schools

Susan Mullen Strings Director The Webb School

Melissa Dufrechou Fine Arts Specialist Williamson County Schools

Sara Panjehpour Elementary Music Specialist La Vergne Lake Elementary School and Smyrna Elementary School

Sarah Cummings Professional Development Specialist, Choral Music Knox County Schools

James W. Story, Jr. Professor of Music Volunteer State Community College

Jazmin Johnson Associate Director of Social Media and Constituent Relations Allison Segel Pre-Production Editor Natalie P. Bingham Production Editor Slate Group – Rico Vega Creative Director Slate Group – Ian Spector Publisher Michael W. Chester Editor-in-Chief

Walter Mencer Instrumental Music Specialist Knox County Schools

The Tennessee Music Education Association (TMEA) was officially formed in 1945 as a voluntary, non-profit organization representing all phases of music education at all school levels. The mission of TMEA is to promote the advancement of high quality music education for all. Active TMEA membership is open to all persons currently teaching music and others with a special interest or involvement in music education. Collegiate membership and retired memberships are available. Membership applications are available on the TMEA web site, www.tnmea.org.

All editorial materials should be sent to: Michael Chester, Editor-in-Chief (615904-6771 ext. 31600) E-mail: editor@tnmea.org. Submit materials by e-mail in Microsoft Word format.

The Tennessee Musician was founded in 1948 with J. Clark Rhodes appointed by the TMEA Board of Control as inaugural editor. Tennessee Musician was preceded by an earlier publication, Tennessee Music Editors’ Downbeat, which was discontinued by the TMEA Board of Control at the spring board meeting, held in Chattanooga, Tennessee in 1948. Tennessee Musician is published by Slate Group – Lubbock, Texas and is mailed to members four times each year at an annual subscription rate of $6.00 (included in dues). Non-member subscription rate (includes S&H): $30.00 per school year; single copies: $10.00 per issue

Deadlines for advertisement orders and editorial materials: Issue No. 1 – Deadline: May 15 (in home delivery date August 15); Issue No. 2 – Deadline: September 15 (in home delivery date December 15); Issue No. 3 – Deadline: December 15 (in home delivery date March 15); Issue No. 4 – Deadline: February 15 (in home delivery date May 15)

Place non-member subscription and single copy orders at TMEA, 129 Paschal Drive, Murfreesboro, Tennessee 37128 or e-mail to editor@ tnmea.org.

4 | TENNESSEE MUSICIAN | 2015 | VOLUME 67, NO. 2

Advertising: Information requests and ad orders should be directed to: Catherine Wilson, Advertising Manager (402-984-3394) e-mail: admanager@tnmea.org. All advertising information is on the TMEA web site, www.tnmea.org.

Tennessee Musician is copyrighted. Reproduction in any form is illegal without the express permission of the editor.

Postmaster: Send address changes to: Tennessee Musician, c/o National Association for Music Education (NAfME), 1806 Robert Fulton Drive, Reston, VA 20191-4348.

Non-Profit 501(c)(3) Organization U.S. Postage Paid at Lubbock, Texas. ISSN Number 0400-3332; EIN number 20-3325550

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CAREERS IN MUSIC DAY

SCHOOL OF MUSIC MTSU Box 47 Murfreesboro, TN 37132 (615) 898-2469 www.mtsumusic.com

Middle Tennessee State University is an AA/EEO employer.

Tuesday, November 4

EDITOR’S COLUMN Michael Chester EDITOR IN CHIEF

M

OST OF US should be familiar enough with the ground breaking work of author Jim Collins,

and his set of bestseller books on corporate leadership and management, Built to Last and his follow up Good to Great. For those of you who are not familiar with Jim Collins, I challenge you to read these books and to apply the knowledge and wisdom to your own teaching and program building. The basic premise in Good to Great, according to Collins is that good is the enemy of great. He goes on to make several comparisons between the differences between good and great, and identifying key benchmarks and norms shared by CEO’s and other company leaders that create a culture and climate of success. I find the message of the book intriguing, especially if we apply these ideas to our day-to day affairs.

We are all in essence CEO’s of our own domains. Whether that domain starts from a cart as you travel from classroom to classroom, portable classroom, or rehearsal hall, you are the one in charge. You get to make the personal decision whether to approach teaching and your individual program as merely a mediocre, marginal, or exceptional practitioner of your art. Some of you will have just finished your regional concert performance assessments and I ask the question, did you achieve the results you were looking for? Some of you are probably on schedule to finish your evidence collection for the Tennessee Arts Growth Measures and again I ask the question, what result are you hoping to achieve?

I pose those questions not to be combative, but to spark dialogue. Is a rating of excellent or superior good enough?

Is a rating of a 3, 4, or 5 good enough? For some of us in the profession, the answers to these questions are simple enough. For others, these questions might generate heartfelt introspection. At what points in our lives and in our careers do we come to the realization (if ever) that good enough still isn’t great enough?

I can say for myself that it is question that I’ve been wrestling with for quite a while. Take the very publication you’re (hopefully) reading right now, the Tennessee Musician. I cannot express how much I appreciate many of you, across the state, who took the time to email, call, and write about how much you loved the new layout, the new look, the vibe, and the content. We at the Tennessee Musician are working overtime to produce a great looking magazine with an additional depth of content. While that may simply be the logical step in the evolution of this publication, I still missed the target.

I was fortunate enough to hear from others of you who did not like the last issue. Yes, I am aware that you had to be outside to read it. No, there was not a set of special glasses that you had to wear in order to read the articles. Yes, the font was too small and too dark to read in natural indoor light. The intention was to produce an attractive publication, with great articles that would look great in digital and print editions. While the text looks good and is easier to read electronically on a backlit tablet, the sacrifice came

6 | TENNESSEE MUSICIAN | 2015 | VOLUME 67, NO. 2

with the print edition, which did not meet our criteria or expectations for distribution. After looking at the mistakes of the previous issue, we have decided to try our hand at this again. I am hoping that we hit the mark this time.

It’s been an interesting journey, so far, serving as a fulltime music educator and editor-in-chief. Though my education was not in journalism, my approach has been to apply the skill sets that one would typically use when taking over a new program as a director, or teaching music in an unfamiliar educational environment. The learning curve is huge, but eventually you figure it out and get the hang of it. For me, one of the hardest parts of this role has been learning when to “pull the trigger” to send something off to print production and learning to figure out the difference between good enough and great enough. Though neither of these two ideals is a final destination, coping with the reality that what may now be great enough today, will pale in comparison to the standards being set tomorrow, keeps me awake at night. As I think about it, I find that these ideas continue to fuel my desire for excellence as a music educator, as an editor-in-chief, and as a human being.

Here’s to what drives you!

Michael Chester Tennessee Musician Editor-in-Chief

D EPARTMENT

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2015 audition dates: Jan. 24 Feb 14 March 21 Contact: Dr. Douglas R. Rose, chair Department of Music (931) 221-7808 rosed@apsu.edu

APSU Music Department welcomes new faculty: Kristen Kienkiewicz, horn Robert Waugh, trumpet Jeffrey Williams, tenor Ensembles at APSU: Brass Quintet Chamber Singers Clarinet Choir Tuba/Euphonium Ensemble Flute Choir Governors Own Marching Band Governors Singers Guitar Ensemble Horn Ensemble Jazz Collegians Jazz Combo Opera Workshop Orchestra Pep Band Percussion Ensemble Saxophone Quartet Trombone Choir University Choir Wind Ensemble

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PERSPECTIVES I’d like to take a moment to say thank you for Johnathan Vest’s article “National Core Standards: An Introduction.” It seems like every time I turn around there seems to be a new educational initiative that we are all asked to embrace. Vest’s article was easy to read and simple to understand. I’m not sure how long the “new” standards will be in place, but I’m glad to see the Tennessee Musician keeping us all informed.

— Rhonda Meade It was exciting to receive my issue of the Tennessee Musician in the mail, only to find that I could not read a single page of it. The print was too small and the text was very difficult to read. Please fix this immediately. I have enjoyed reading the Tennessee Musician for many years and I want to continue to enjoy reading it.

I thought the Catalano and McWhirter article was quite eye opening about teacher assessment. Don’t think that I didn’t make a copy and place it in the office mail boxes of my principals. It seems too often that we try our hardest to create lessons for our evaluations, only to fall short based on a principal’s observation of content mastery.

— Jean Anne Montgomery

— Teresa Schill

School of Music Audition Dates for Spring/Fall 2015 UNDERGRADUATE: November 8, 2014 January 10, 2015 January 24, 2015 February 7, 2015 March 21, 2015 (Admission only) GRADUATE: November 8, 2014 January 23, 2015 February 13, 2015 February 27, 2015

WWW.BELMONT. EDU/MUSIC

8 | TENNESSEE MUSICIAN | 2015 | VOLUME 67, NO. 2

SHARE WITH US Have something to say? Do you love

or hate a particular article? To share your thoughts on what you read in the Tennessee Musician, please e-mail editor@tnmea.org

PRESIDENT’S MESSAGE

Y

Jeff Phillips

OU PROBABLY NOTICED IT: there’s a huge

elephant in the room. It’s in the meetings we attend with our local associations, but mainly it’s there after the business is done, sometimes before it all starts. It’s in all of our regions too and it travels from group to group daily. The elephant in the room needs to be addressed before we can move on with some of the business we need to do in our State, so even though it may be unpopular, let’s bring the animal out in the open.

What in the world is he talking about now? The “divisions among our divisions.” It’s been said that “perception is reality” and there is no greater example of that in our field of music education and specifically here in our State. One of the comments I get from teachers that aren’t NAfME members (and even some that are) is that “there’s nothing there for me; it’s all run by (fill in the blank with whatever area you don’t teach).” I’ll admit, that was a comment I made once upon a time! “MENC/TMEA: they were all just a bunch of choral and elementary music people; they have nothing to do with MY area: BAND!” If you proclaim that in your association (and change the emphasis) you’ll probably get a great “us versus them” discussion going and, unfortunately, several will agree with you. As I began to ask our TMEA membership about things we can do better, I was somewhat amused that each faction had similar feelings about the others: instrumental folks think the choral and elementary music folks are running everything; the choral directors think the instrumental teachers are taking over; the elementary teachers are pretty sure they don’t have a voice in the association at all. Even among these there are further divisions: concert choir versus show choir; Orff versus Kodaly; and band versus orchestra! PLUS, in our state we’ve got three different regions for each one, so we ALL know about those people in the (fill in the blank) region and how messed up they are! I suppose that some of this is just natural as we want to protect our territory, but in reality, is this really helping? (Just as an FYI: when you look at the 2015 Conference offerings, I think you’ll see a good balance of sessions and concerts among all areas as we made great efforts to do this!)

In our State and in our Nation, there is too much currently at stake to continue bickering among ourselves. The only way to push forward and determine a viable path for music education in our schools is to recognize that we need each other in order to be a strong unified voice. State and national leaders will listen to large groups of constituents and our collective efforts can and do make an impact.

I’m past-President of a national band organization (the American School Band Directors Association). For years this group struggled with how to make a national voice for band programs.

Only after several years of work to change some minds and agreeing to join forces with NAfME and the Music Policy Roundtable has progress been made with this! We currently have music asso1 0 | TENNESSEE MUSICIAN | 2015 | VOLUME 67, NO. 2

ciations in our state that talk of cutting ties to our national association and that “our dues can be spent here at home.” What we have to realize is that further dividing our efforts both in the state will cut our impact on current legislation and give us no place on the national advocacy efforts. ALL music educators in our state at all levels MUST be members of our state and national organization!

Currently in our state we have a myriad of issues facing music education: scheduling, funding, staffing, certification and evaluation, just to name a few. These same issues are also on the national front. It is important that we not only keep vigilant efforts here, but that we are able to be aware of what is happening in other states and in Washington. The recent email blast from NAfME about the Broaderminded campaign and the petition for the ESEA (No Child Left Behind) is a perfect example of how NUMBERS matter. If a Senator hears your opinion that probably won’t even make it past the receptionist’s desk. If the same message is echoed by hundreds of voters and then multiplied in fellow Senator’s offices on Capitol Hill, the message begins to resonate.

Over the next few months we will have opportunities to make our voices heard for music education. March is “Music in Our Schools Month.” What type of efforts can you do in your community to promote your program and music education? We have new legislators in Nashville. Our goal (with our Advocacy chair, Joel Denton) is to encourage you to meet in person with YOUR local representatives and briefly discuss the importance of music education (look for more on this soon in an email blast). Can you imagine the impact if music teachers of all levels began calling and visiting the offices of our congress and senate representatives? In May, most high schools have “signing days” for athletics, but can you organize one for students in your music department?

We can make a difference, but it’s more powerful when we make it TOGETHER! There’s safety in numbers and if we are going to make an impact on music education in our region, state, and on a national level, we’ve first got to “get over ourselves” and deal with that elephant in the room! It’s not band vs. orchestra and choral vs. instrumental and we’ve got to get past the East-Middle-West mentality and work for the STUDENTS of Tennessee.

Jeff Phillips TMEA President

music

AT UNION UNIVERSITY

to exalt

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Jackson, Tennessee 731.661.5345

uu.edu/music EXCELLENCE-DRIVEN

C H R I S T- C E N T E R E D

PEOPLE-FOCUSED

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THE SCORE

News From Across the State

SHELBY COUNTY SCHOOLS

separately at their own schools. The students come together for two days of rehearsal before the free and open to the public concert. Last year’s April 3rd concert, themed Snapshots of Sound, cochaired by Orff Music specialists, Scharion Bradley, Macon Hall Elementary, and Elisabeth Lay, Lincoln Elementary, was performed to a packed house at the Cannon Center for the Performing Arts. Over 325 SCS 4th and 5th grade students sang, danced, played recorder, guitar, and Orff pitched and un-pitched instruments to accompany themselves as they performed favorites from past All-City concerts.

Each All-City concert is a multicultural

The Shelby County Schools partnership with the Memphis Symphony Orchestra was in the spotlight on February 5, 2015, as 1500 elementary students were able to attend the orchestra’s annual Young People’s Concert (YPC). Not only were the students able to attend this live arts performance, but their teachers involved them in arts integrated learning through the curriculum unit which is a big part of the YPC experience. Additionally, each YPC participating school will receive an up close and personal orchestral experience with two MSO pre- and post-concert educational ensemble visits. We are very glad that this partnership and collaboration between SCS and the MSO continues over the years to provide our elementary students with this rich live arts experience.

The Idlewild Performing Recorder Shelby County Ensemble from Idlewild ElementaSchools ry, Memphis, TN, under the direction of Allen Moody, Orff music teacher at Idlewild, was one of the children’s performing ensembles at last fall’s American Orff-Schulwerk Association’s National Professional Development Conference in Nashville, TN. The Idlewild Performing Ensemble has a history of excellence in music making. Students are selected on the basis of audition and school-wide behavior.

Members meet before school to rehearse for their various performances and are routinely selected to participate in All-West Choral and All-City Orff program and this year’s May 7th concert, ensembles in Memphis, TN. Allen Moody All-City 2015: Our World, Our Song, cofrom Memphis, TN, received his B.M. in chaired by Orff Music specialist, Lynn Music Education from the University of Bivens, Shady Grove Elementary, and Memphis in 2009. He completed his Orff Maria Spence, Shelby Oaks Elementary, levels at the University of Memphis as will be no exception. The selections for well. He is an Orff Music Specialist with All-City 2015: Our World, Our Song inShelby County Schools and co-hosted the clude the processional, Man in the Moon/ First-Timer’s Orientation at the Denver Dance Song; the Netherlands folksong, Conference in 2013.

Sarasponda; a rousing medley of Camp The Orff Music Program of Shel- Songs; the Japanese folk song, Sakura; the

by County Schools (SCS) hosts an an- Spanish folk song, There’s a Fiesta; a fun nual Orff Music All-City Concert. The children’s song, Safari; the Earlene Rentz All-City Concert is a district wide Orff choral piece, I Want Two Wings; and the music teacher collaboration to prepare Finale, Proud Mary.

This year SCS hosted a series of masstudents to perform together after having rehearsed their own individual vo- ter classes and clinics with artists such cal, instrument, and dance assignments as jazz educator Ronald Carter, Professor 1 2 | TENNESSEE MUSICIAN | 2015 | VOLUME 67, NO. 2

Emeritus at Northern Illinois University and renowned lyric soprano, Kallen Esperian. Overton High and Central High School Jazz bands were selected as finalists for the Savannah Swing Central National Jazz Band Competition. This is the second consecutive year Central has been selected. Overton High has been selected for the past three years, and this year placed 2nd nationally at the Competition.

SCS is proud to have 65 schools with strings programs, and in October, over 100 students from across the district participated in an All-City concert, highlighting different genres of music from classical to rock. SCS continues to be involved with the Metropolitan Opera’s HD Live in Schools partnership as well as active partnerships with local arts agencies such as Ballet on Wheels featuring the Cordova High School Orchestra.

Williamson County Schools

In May, the 6th annual district wide ArtsFest will feature over 1,000 works of student art and many All-City performance ensembles with clinicians sucah as Dr. Ryan Fisher, Dr. Reginald McDonald, Dr. Albert Nguyen, and others. Additionally, Shelby County Schools has partnered with the Berklee College of Music City Music Network to present educational materials and resources to the film “Take Me to the River” which was made available to the music teachers in the Berklee City Music Network and the “Amp Up” music teachers in New York City.

WILLIAMSON COUNTY SCHOOLS Greetings from Williamson County Schools! Students and teachers in WCS music programs have been busy this year.

We were excited to send 20 students to All-State Choir and 21 in All-State Band and Orchestra with well over 200 attending the regional Mid-State performances.

Four WCS students were selected to perform with the National Honor Choir, National Honor Band, and National Honor Orchestra as well. As the district’s music programs have continued to grow, we have been fortunate to be able to add two full time band directors and several part-time elementary music specialists.

Band and orchestra directors from across Williamson County Schools and Franklin Special School District collaborated to present their annual Honor Band

Works Foundation and hosted by the Factory at Franklin. The event will feature four stage areas sponsored by Mathnasium and Franklin Synergy Bank from which students in kindergarten through high school will perform from 10:00 in the morning until 6:00 in the evening. Events will include jazz bands, concert choirs, elementary mass choirs, Orff ensembles, show choirs, orchestras, and a percussion ensemble. This event serves to spotlight the talent, achievements and importance of arts education in our schools. The fact that the event is sponsored by a Realtors foundation, a bank, and a math tutoring company highlights how the community recognizes strong music and arts programs as an integral part of educating the whole child, improving our schools and attracting businesses to a community East Tennessee State University

Middle Tennessee State University

Recent faculty activities include H. Stephen Smith, voice, performing with the Memphis Symphony; guitarist Bill Yelverton performing at Mississippi State University and Wofford College; and Michael Parkinson directing the Kansas AllState Jazz Band. MTSU’s Brass Quintet performed with Belmont and Vanderbilt quintets, premiering Tri-Star Fanfare by Jamey Simmons. Cedric Dent and TAKE SIX were recently inducted into the Gospel Music Hall of Fame. Don Aliquo, Michael Linton, Matt Lund, Paul Osterfield, and Jamey Simmons each have new CDs in release.

Among recent alumni achievements: Tracey Phillips won the Dove award for Instrumental Album of the Year; Steven Malone directed the NBC production of PETER PAN LIVE; Jesus Santandreu is resident composer for the Beijing Wind Orchestra; singer Seth Carico, is performing with Deutsche Opera; jazz alumni returned to present a big band concert directed by John Duke. Finally, the Master of Music degree is now official at MTSU with NASM approval. Visit mtsumusic. com for more information.

EAST TENNESSEE STATE UNIVERSITY TENNESSEE

and Festival Orchestra performance. The band features some of the county’s finest middle and high school student musicians. Students who were nominated by their band director got to audition for a spot in this prestigious ensemble. Those who were selected gathered to rehearse the day before the concert under the direction of a guest clinician. The event is completely teacher driven and has been a tradition in the county for over 10 years.

The festival orchestra was premiered in 2014 as our county has continued to add string programs and teachers.

WCS is particularly excited to announce its 2nd Annual district-wide Fine Arts Festival sponsored by the Williamson County Association of Realtors Good

MIDDLE TENNESSEE STATE UNIVERSITY The MTSU School of Music is pleased to announce exciting happenings this year.

MTSU’s Wind Ensemble recently premiered “The Master’s Hand,” composed and conducted by Timothy Mahr in memory of Joseph T. Smith. Additionally, NAXOS issued EARTHRISE, a new Wind Ensemble CD, Reed Thomas, conductor and David Loucky, trombone soloist. MTSU students performed winning student works at the NAfME conference and won snare and ensemble awards at this year’s PASIC. The Knoxboro-Bones, student trombone quartet, presented concerts in six Knoxville area schools.

Dr. Christian Zembower, Director of Bands and Associate Professor of Music at ETSU, has been accepted to present at two separate band conferences in the future. He will be presenting “Singular Successes: Contributions to the Wind Band Idiom” at the March, 2015 College Band Directors National Association (CBDNA) National Conference in Nashville, hosted by Vanderbilt University; and also at the July, 2015 World Association of Symphonic Bands and Ensembles (WASBE) International Conference in San Jose, California, hosted by San Jose State University.

Dr. Zembower’s presentation is based on a research article that will be published in the Fall, 2014 volume issue of the WASBE Journal on the same subject area and title as the upcoming presentations.

The article/presentations are based on research of eleven composers who were all very successful in their compositional output in other genres, but only contributed one (published) work to the wind band idiom.

Tennessee Music Education Assocation | 13

TMEA PROFILES IN EXCELLENCE

by Michael Chester

BDG: Tom Tucker and Bill Hull: my high school band directors, my church choir director: Dr. Henry Martin Puryear, Jr., and during my undergraduate college years: Joseph T. Smith, Neil and Margaret Wright, Tom Naylor, Horace Beasley, and John Duke.

TNM: What experiences influenced your decision to become a music teacher?

BDG: The joy and commitment exhibited by both my high school band directors and my church choir director . . . they made the job look fun!

Gregory was fortunate to be surrounded by several great music teachers who created an aura of high expectations. She credits her love of singing to experiences as a member of the Highland Park Church Choir. Her experiences as a member of the Siegel High School Columbia Central High School Band proMurfreesboro, Tennessee gram were nothing short of exceptional.

She attributes this to the fact that her directors created a balance in the band program, with a highly competitive marching program and renowned concert program.

Again, high expectations were at the epicenter of her musical experiences, no doubt serving as model and influence in her own teaching.

Gregory later attended Middle Tennessee State University, earning both a Bachelor of Music degree and a Master of Arts degree, often attributed to Paul Ivey that states, “Study respectively. Many of her the unusually successful people you know, and you will find them imbued with university professors and enthusiasm for their work which is contagious. Not only are they themselves exinstructors during this time cited about what they are doing, but they also get you excited.” Such is the case were themselves experienced with Tennessee Music Education Association member Brenda Dent Gregory. music educators, who would Gregory, a 33-year career accomplished Baptist Church in Columbia, and then continue to nurture and challenge Gregomusician, artist, and music educator, started band in 7th grade. ry’s own philosophy of teaching. who brings to her rehearsal hall a passion Music was an integral part of Gregory’s Gregory began her teaching career right for teaching and a zeal for music that in- childhood. Though her father had more after finishing her graduate studies. In a spires the many students that have come of an athletic background growing up, her humorous account of being at the right her way over the years. Along with asso- mother had a background in music, who, place at the right time, Gregory recountciate director Wendy Payne, Gregory cur- along with her five siblings, sung in the ed a meeting with Don Boyd that was setrently serves as choral director at Siegel church choir and played clarinet in the up by then director of bands, Joseph T. High School in Murfreesboro, Tennessee, high school band. Stories shared about her Smith. Boyd, who was at that time, direca position she has held since the school mother’s time as a member of the choir tor of bands at Shelbyville Central High first opened its doors in 2003. Recently, and band would influence Gregory to fol- School (Shelbyville, TN), was looking for the Tennessee Musician was able to visit low a similar path, even down to the in- and assistant band director who could Brenda Dent Gregory for a conversation strument selection of clarinet. During her also teach the choir program and lead the about her experiences in music and teaching. high school years, Gregory was quite an general music program at Harris Middle accomplished musician in her own right, School. Gregory was immediately hired Tennessee Musician (TNM): Tell selected for the All-Middle Tennessee and would spend the next two-years in us about your earliest experiences in Bands and the Tennessee All-State Bands. that capacity. Later, at the invitation of Brad Rogers, a friend from her high school music growing up.

Brenda Dent Gregory (BDG): I started TNM: During your student years, band days in Columbia, she applied for a piano lessons at the age of 7, later joining which teacher(s) had the most impact similar position at Oakland High School (Murfreesboro, TN), where Gregory the church youth choir at Highland Park on your life and why?

Brenda Dent Gregory

HERE IS AN OLD AXIOM OF VIRTUE,

14 | TENNESSEE MUSICIAN | 2015 | VOLUME 67, NO. 2

SIEGEL HIGH SCHOOL CHOIR STUDENTS performing scenes from Once on This Island.

would spend the next 19 years of a highly successful tenure.

Gregory’s own sense of high expectations for her students would garner the attention of her principal at the time, Ken Nolan, who would later be named as the principal of Rutherford County’s newest building project, Siegel High School. Nolan requested that Gregory join a select group of educators to open the new high school in 2003. As a charter faculty member, Gregory began to build her choir program at Siegel from the ground up.

With a school population of approximately 2000, the choir program at Siegel High School consists of an instructional environment built around a seven-period day, with modifications based on the day of the week. Most Mondays, Wednesdays, and Fridays operate on 50 minute class periods. Tuesdays and Thursdays operate on 42 minute class periods. The choir program offers several unique ensemble offerings, designed around the diversity, needs, and skill sets of the students. The vocal ensemble classes offered at Siegel High School include: Women’s Select Choir, Chamber Choir, Women’s Cho-

rale, and the Concert Choir. Each of these classes meet during the school day and are taught by both Gregory and Wendy Payne, who serves as the associate director of the choir program. Payne is regarded very highly by Gregory as a trusted colleague who shares the same vision of focusing on the students. In addition, Gregory teaches Music Theory courses. On any given day, Gregory teaches over 150 students.

TNM: How much time do you spend outside of the normal school day working with students on individual or group instruction and performance preparation?

BDG: In the fall, one day a week for a couple of hours. In the spring, with the spring musical, we rehearse two days out of the week for a three hour rehearsal period.

With honor choirs, and Mid-State and AllState, sometimes we spend every day after school, working with sections, or individuals. We do put in the hours here . . . most directors who are in charge of really good programs . . . that’s just what you do.

TNM: Is private instruction avail-

able to the students, either before, during, or after school?

BDG: Private instruction is available both during and after school. We have four instructors who come in to teach every day.

We let the students miss their choir period one day a week for their voice lesson. Our instructors then teach additional lessons after school.

TNM: How do you encourage students to go the extra step for lessons, and how do you convince the parents that private lessons are a beneficial investment in their children?

BDG: It did take a while to get this established. When I was at Oakland High School I started with a voice teacher by the name of Donna Shearron, who still teaches for me. She started with a small studio of about five students. Over time, these students grew musically, and loved their voice lessons. Other students took notice in the marked improvement of those who were taking voice lessons. After a while, it just caught on. By the time I came to Siegel High School, many of the students came from the Oakland program to Siegel High Tennessee Music Education Assocation | 15

School, and with that, followed the culture of private lessons and why they were important. My Siegel High School parents are and continue to be strong advocates of the private lesson program, talking it up to many of the 8th grade choir students prior to their joining the Siegel High School Choir program.

TNM: Do you have any kind of ancillary school support organization?

BDG: We have a wonderful choral booster club here at Siegel High School. We have a nucleus of parents who support us financially by planning fundraisers and providing support for our performances. They are an incredible group of parents!

TNM: You have a very supportive and collegial administration that supports the choral program and music education at Siegel High School.

What are some things that you do to cultivate that relationship?

BDG: I think communication is very important. I think a lot of administrators have a lot of concerns when ensemble directors are not communicating adequately with the parents. I think you have to go the extra mile to convince your administration that you really are on board with communicating with your parents and students.

Invite your administration to come and watch your students do what they do. Put tickets on their desk for them and their families. Make them a part of what you do.

Involve them in what it is that the students are doing. It’s up to you to bring them into the rehearsal hall.

One of the many striking aspects of the choir program at Siegel High School is just how many things are taking place. The choir rehearsal hall, with its warm and inviting vibe, is quite an epicenter of activity. Clean, organized, and ready for the set of students, the walls of the Siegel High School Choir Rehearsal Hall are adorned with the pictures of smiling students, both past and present, proud of their legacy, achievement, and hard work.

Last year the Siegel High School Choir program was invited to perform at the National Association for Music Education’s National In-service Conference as part of the special event, “Disney’s Tarzan.”

The students have also worked with the Nashville Symphony Orchestra, and with Eden Espinosa, who played “Elphaba” in “Wicked” on Broadway. Another highlight occurred about 10 years ago, when the Siegel High School Choir was invited

to perform with Josh Groban on his Nashville concert.

The students have traveled extensively with the choral department to Europe (London and Paris), and several times to New York City. Each year the program traditionally places several students in the All-Middle Tennessee Choirs, around 15 students in the Tennessee All-State SIEGEL HIGH SCHOOL CHOIR STUDENTS in concert.

Choir, and around 5 to 6 students in the Tennessee Governor’s School for the ucator, it should be easy to apply what you Arts. Last year, one of the students, Ellen already do in an ensemble to the verbiage Robertson, won the high school division on the rubric. Common Core is yet another in the Orpheus Vocal Competition at Mid- example. It’s things we already do. dle Tennessee State University. Several TNM: One of the truly remarkable former Siegel High School Choir students have gone to schools like NYU, Indiana aspects of your program focuses on a University, and Vanderbilt. Gregory has well-rounded approach to musicianeven had several students go onto careers ship and repertoire. As an ensemble as professional musicians, like country director there are numerous factors music artist Chris Young. to consider when making selections With as many years as Gregory has like ensemble, size, talent and skill spent as a career music educator, it could sets, venue, and audience appeal. be easy to become complacent, even satis- How do you make choices on reperfied with the status quo. Even more so, it is toire selections? very easy for someone with Gregory’s statBDG: Ensemble size is certainly a factor, ure to become cynical, especially in these as well as experience level. This year in my top ensemble, I have quite a few freshmen changing and uncertain times in education. men, with vocal changes still taking place.

TNM: How much of an impact has I’m looking at different works and asking No Child Left Behind, the State of myself, “what can these young tenors and Tennessee’s selection for Race to the baritones handle, especially in terms of Top funding, Common Core, and the range?” I wanted to really explore a Capella TEAM Evaluation had on you as a singing more this year, so this has been one of the things I have been looking at in terms music educator?

BDG: You know . . . really and truly I of rep selection. If we perform at a chorale think it’s every music educator’s choice to festival, there are certain considerations decide how much those things can affect and requirements we have to balance and them in a negative way. I think you have to decide on. We really try to incorporate keep your eye on the ball. That’s really easy music from every time and style period, for someone to say with 33 years of experi- as much as we can. I like to expose the stuence and the perspective that I have. I think dents to all sorts of genres of music. it’s really hard for young educators because Something to take note of, which in when they get into the profession, they are many ways is an important skill and trait barraged with all of this periphery. With as a music educator, is the art of netthe TEAM Evaluation, I believe the TEAM working and remaining an active part of Rubric is awesome for ensemble. There are the music community. For Gregory, this things that we do naturally in an ensemble comes naturally and results in creating setting, like problem solving, giving feed- opportunities for her students to connect back, and group settings. For a music ed- with performing musicians all over the

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world. Gregory herself performs as a vocalist, and when the opportunity allows, Gregory can be found performing in community theater productions. We asked about how remaining active as a performer inspires her artistry as a musician and educator.

TNM: As a musician and educator, what kind of activities do you engage in that inspires and nurtures your artistry?

BDG: I still do some singing, not as much church choir as I would like, but when I have the opportunity, I do solo in church.

One of the things that I really love is community theater. I was able to perform with

Graduate. Nichols would go on to win a Grammy Award, four Emmy Awards, and nine Tony Awards. Nichols recently passed away in November of 2014.

you hope your students will take away from your teaching and program when they graduate?

BDG: Just one thing—a love for music.

TNM: What is it about the work of directors Susan Stroman and Mike Nichols that make them among your favorite? Where do you draw inspiration from their productions?

BDG: For Stroman, she does a lot of Broadway revivals, and in particular she received a Tony Award for her revival of Oklahoma, which is an old, old show. I saw this production, and I was amazed at how fresh her work was with a piece that was so old. I immediately loved her approach. She

TNM: If there is one piece of advice or words of wisdom for aspiring teachers, what would they be?

BDG: Keep your eye on the ball! With all of the additional paperwork, evaluations, PLCs, etc., it can be overwhelming.

Remember why you got into teaching music in the first place . . . keep that in the forefront of your mind every day. Nothing else is as important as your personal connection with your students on a daily basis.

It’s easy to let that “peripheral” stuff take

Remember why you got into teaching music in the first place. Keep that in the forefront of your mind every day. Nothing else is as important as your personal connection with your students on a daily basis.

— Brenda Dent Gregory the Stones River Theater Company in a production of Jekyll and Hyde. I had the opportunity to perform in that show with some former students from my days at Oakland High School, which was a lot of fun. I think it’s important to not only be on our side of the art, but also the student side of the art as well. I think that sometimes we forget what it’s like to be in their shoes. I remember taking all sorts of notes when I was in the production. I took notes about the rehearsal processes that a director would use.

I even took notes about things to avoid as a director.

We asked Brenda Gregory about any additional sources of inspiration as an artist, musician, and educator. She mentioned the creative work and output of Susan Stroman, an American theatre director, choreographer, film director, and performer. Stroman is a five-time Tony Award winner: four for Best Choreography and one as Best Director of a Musical for The Producers. She also mentioned the work of Mike Nichols, an American film and theatre director, producer, actor, and comedian who won the Academy Award for Best Director for the film The

SIEGEL HIGH SCHOOL CHOIR STUDENTS selected for a special performance of Disney’s Tarzan at the NAfME Inservice Conference.

brought a modern and fresh approach to her productions. I’ve heard she’s an incredible person to work with…..just one of those “forces of nature” kind of ladies. That’s what I love about her. Mike Nichols is kind of a man after my own heart. He’s just one of those old school directors who doesn’t take any gruff. He’s one of those rough directors who is perfectionistic, not wanting to accept anything except the artist’s best work. I can relate to him in that regard. I have a little bit of that personality myself.

That’s what I like about him.

Gregory is truly the epitome of a great music educator. Even to this day, she finds ways of remaining inspired, culturally literate, and intellectually engaged in music and the performing arts. She continues to share her love of music and teaching with her students, and her artistry can be felt through the generations of her former students.

TNM: What is the one thing that

all your energy and focus. Don’t let it . . . it’s about the kids.

Brenda Dent Gregory, truly an icon of music education in the State of Tennessee. Her work stands as a testament to putting students first. Her work pays homage to the legacies of her teachers of the past and to those who have had the fortune to cross paths with her and to inspire her. Brenda Dent Gregory . . . her work as a music educator speaks for itself.

EDITOR’S NOTE: The feature article, “Profiles in Excellence” will be an ongoing series that highlights the work being done by Tennessee Music Education Association members. Highlights of these recorded interviews will be archived for future generations to access as a part of a special TMEA oral history project and will be made available as a future podcast for download at tnmea.org.

Tennessee Music Education Assocation | 17

TEACHING LEADERSHIP IN OUR ORCHESTRAS

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by Susan Mullen

HEN RECRUITING

for our school programs or youth orchestras, we often refer to the fact that our musicians learn ‘leadership skills’ in our ensembles, using that as a selling point to parents, students, and grant givers alike.

But what do we mean by this, exactly?

We’d like to think that students learn the characteristics of solid leadership simply by showing up to rehearsals, but we know that some never quite make that transformation. Do directors deliberately teach leadership from the podium, or do they just hope that students will glean it by being part of the group? My goal is to have an orchestra full of section players who could sit first chair and capably lead the section.

Most of us have had a student in our orchestra who seems to be a natural born leader. He or she exudes that special something that seems to make others more energetic and engaged in the music and better behaved in general. If he happens to be the most talented player in your group, it’s a huge bonus. You instantly have a concertmaster that makes your job as a conductor so much easier. She helps keep the others energized and models good orchestral behavior. You’d like to clone that child, or at least bottle the personality so that the others could take a drink now and then. You relish the years

you have that student in your group and always feel an enormous void when they leave. Imagine what a difference it would make in your orchestra if all your players had that indefinable quality!

Though most students will not walk into your orchestra already endowed with the leadership skills you desire, you have an enormous impact on whether they leave with them. You can teach students how to incorporate the following highlighted behaviors into every rehearsal. In fact, I believe that these traits may be some of the most valuable that a player can learn while under your baton. Of course, it is necessary for conductors and teachers to impart that each and every player in the group is vital. Additionally, players should know that building leadership skills shouldn’t begin after getting the section leader position, rather, these skills are essential in order to get that position.

For those students for whom leadership is not natural, this is invaluable. Ultimately, they will see how easy it is to transfer many of these habits into the non-musical world as well.

COMMITMENT

Be ready with your tuned instrument, music and pencil before the downbeat. Arrive a few minutes early to warm up on the hardest sections in your music.

Stay engaged with the ensemble throughout the entire practice. Don’t con-

stantly check the time or be the first to dart out when it’s over.

Be the first to pick up your pencil to mark something in your part that the conductor has just mentioned; this could be a phrasing, a definition of a term you didn’t know, or just to mark an X in the margin of a section you need to practice at home.

Do this every time and quickly. Others will follow your lead; I guarantee it.

Offer to help the conductor hand out music, arrange the room before or after the rehearsal. It shows that you care about the group.

CONFIDENCE

In your private practice, work on the hardest sections first. Play them until they are easy! This will help you stand out in the next rehearsal.

Compliment the abilities of your stand partner and the group. Don’t panic if things don’t stay together or intonation is particularly bad that day. Avoid voicing anything negative. Setbacks are perfectly normal. “Come on guys, we can do this!” is an encouraging comment to make when the orchestra is having a bad day.

POSITIVE ATTITUDE

Show interest in what is going on around you. When one section of the orchestra is being rehearsed, follow along in your own music to see how your part fits with theirs.

Respond positively when a section or someone plays particularly well. A foot shuffle (the musician’s alternative to clapping) is always welcome and keeps the mood high.

When your conductor asks you to rehearse the same section for the umpteenth time, don’t be a groaner! Never be the one to complain about anything, whether it’s the length of the rehearsal or the temperature of the room. Your director will always address a real problem if you have one, but complaining about the small stuff only poisons the atmosphere of the ensemble and is hard for any conductor to turn around.

CREATIVITY

Though most students will not walk into your orchestra already endowed with the leadership skills you desire, you have an enormous impact on whether they leave with them.

1 8 | TENNESSEE MUSICIAN | 2015 | VOLUME 67, NO. 2

Ask the conductor about phrasing or dynamics if they are not marked in the music or are not clear to you. Always be thinking how to make the music more interesting.

Read up about the composers or pieces you are playing, learn interesting facts about them, and share them with your stand partner or the entire group.

Listen to a recording of one or more of your pieces outside of rehearsal to learn about other orchestra’s interpretations.

Talk about what you heard if you find it interesting.

COMMUNICATION

Raise your hand and ask questions whenever you have one. If you don’t understand something in the music such as a rhythm, a bowing, or a dynamic, chances are someone else doesn’t either. Speak in a clear, loud voice so that all can hear. Don’t mumble or be apologetic about having a question in the first place. *Some orchestras prefer that only section leaders ask the conductor questions about the music and that the others in the section ask the section leader. Ask the conductor what they prefer.

If you have something important to tell your conductor, pull them aside before or after rehearsal and ask if it’s a good time to talk. Look them in the eye and speak up. A director is much more likely to take even bad news well if you are up front and willing to speak to them directly. Do not disrupt rehearsal with information not directly related to the music.

APPROACHABILITY

Walk into your rehearsal without your earbuds in. Make eye contact and greet those you see with a friendly hello or strike up a conversation before class.

Examine your body language and facial expressions. Someone who is sitting slouched or slumped forward into the music stand during rehearsals can seem closed off and unwilling to talk. Those who sit erect, make eye contact with others in the orchestra and keep a pleasant look on their face give off the impression that they are willing to interact.

Maintain good personal hygiene. You are much more likely to be spoken to if you smell fresh and have your teeth and hair brushed than if you don’t.

SENSE OF HUMOR

Encourage those around you to laugh at mistakes rather than be too discouraged by them. Be quicker to laugh at your own mistakes than at others’, of course, or it may be taken the wrong way.

Never be timid about moving with the music. Swaying in time with a melody is great fun and usually encouraged!

Occasional jokes keep the group’s energy and morale higher.

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Remember, timing is everything! Never interrupt a teaching moment, or you may feel the conductor’s wrath.

As directors, we set the tone in our private musical communities. I suggest that our students should understand that we expect continuous improvement, both as musicians and as human beings. If we set the standard for excellence, they will strive to reach it. What changes young people is being part of a strong community that reaches unreasonably high together.

We as teachers can help that process by encouraging them to take steps in that direction.

Susan Mullen is currently on the faculty of The Webb School, in Bell Buckle, Tennessee where she serves as an instructor of Strings. She is currently serving the Middle Tennessee School Band and Orchestra Association (MTSBOA) as an Orchestra Representative on the organization’s executive board and also serves as a member of the Tennessee Music Education Association’s Tennessee Musician editorial board.

High academic and performance standards Low student/faculty ratio Highly qualified, approachable faculty Quality environment for learning Substantial scholarships are available to qualified performers and scholars who plan to major in music. Full-Tuition Scholarship Competition is the last Saturday in January.

See our website for more details.

CARSON-NEWMAN MUSIC | C-N Box 72048 | Jefferson City, TN 37760 | (865) 471-3328 | www.cn.edu/music Information contact: Dr. Jeremy J. Buckner | jbuckner@cn.edu Tennessee Music Education Assocation | 19

What’s New in Music Technology: A Report from NAMM 2015

by Mike Klinger

MusicPlayAlong is a free download and is an accompaniment app (audio MP3) for music practice. It provides an electronic music score with high-quality accompaniment and synchronized music tracer. It is a dream companion for all music students. You can slow down or speed a piece up by 50 percent without changing pitch or sound quality. There are “song collections” for specific instruments and categories as well.

Finally, please check out a couple of my own favorite web-based tools: Weezic is free, and you only pay for access to the songs you wish to play. MatchMySound is also free and is currently in beta stage.

Both are wonderful practice tools for your students.

I

DIGITAL AUDIO

LOVE MID-JANUARY

when I can leave the cold and grey Pacific Northwest and head toward the warmth and clear skies of Anaheim, California, for the annual National Association of Music Merchants (NAMM) convention. I always look forward to all the new and exciting developments heading our way as music educators in music technology. This year, I was not disappointed.

You may have heard that MakeMusic Inc. (the company that created Finale and SmartMusic) relocated to Boulder, Colorado to merge with a company called Peaksware. Some positions at MakeMusic were eliminated, and a number of employees who received offers to join the new venture in Boulder chose not to make the move, precipitating the rumor that the company had gone out of business. Not true! I met with Peaksware president Dirk Friel and the company’s marketing director Sonia Bertek, who reassured me that things are moving forward. Peaksware develops software platforms that connect creators, instructors, and performers and helps them set specific goals. You get expert instruction that can help both user and software perform at the highest levels.

Rest assured that Finale and Smart Music are ongoing, supported products.

SOFTWARE APPS

I found three smaller software/app companies that offer promise for the music education market. Imitone ($25) translates sound into MIDI, the language of digital music. Simply put, just play or sing through a microphone into any MIDI software, such as that found in GarageBand, and this product will convert the track into a MIDI track. Think of the possibilities of this. I was blown away by their demonstration.

The Piano Maestro app for iPad by JoyTunes is free download for music teachers and students. You can download the app at www.joytunes.com then register as a teacher or student. It is a fascinating new approach to learning how to play the piano. Simply place your iPad on the music rack of a piano and launch Piano Maestro, load in a song, and hit play.

As the music scrolls along, you can play along as a built-in iPad microphone hears your playing and shows the notes you are playing along the way. If you have a lab with headphones, the app will also work through a MIDI connection on an electronic midi keyboard. Once you have finished a level and get your passing score, you move on to the next level. Over four million people have now downloaded this tool.

2 0 | TENNESSEE MUSICIAN | 2015 | VOLUME 67, NO. 2

Probably the biggest news at NAMM 2015 was that Avid Technology would now be offering a free version of Pro Tools called Pro Tools First. It will allow for sixteen tracks of audio, MIDI, virtual instruments, and auxiliary tracks. Storage is in the cloud and allows you to store up to three projects. If you want to work on a new project, then simply bounce a project to disc and store it onto your hard drive.

Avid also announced Pro Tools 12 Academic ($299), coming out in the second quarter of this year. Both Pro Tools 12 and Pro Tools First will allow for song collaboration in the cloud, and a new Marketplace portal built into the software will offer users the capacity to purchase extra sounds, effects, etc. The Marketplace will serve as a portal where musicians can get paid for their work on song collaborations.

Sibelius and Media Composer are also Avid products. Look for them to follow in a similar fashion with collaboration and Marketplace portals in new versions soon.

Tascam introduced two new handheld recorders at NAMM. The DR-44wl ($299) is a four-track recorder that includes Wi-Fi for transport control, file transfer, and audio streaming to your smartphone or PC. New built-in stereo condenser microphones feature shock mounting and are mounted in a true XY pattern for perfect stereo imaging. A pair of XLR inputs is also available for fourtrack recording, and all four feed into an improved microphone preamp and AD/

DA stage. The DR-22wl ($149) also has Wi-Fi for transport control, file transfer, and audio streaming to your smartphone or PC. Other innovations like the Scene Dial make it easier than ever to capture great-sounding recordings and share them online. The DR-22wl also has the XY pattern microphones for stereo recording.

There were a number of new audio interfaces announced at NAMM as well.

Focusrite Audio Engineering introduced two new models that look promising for music educators. The iTrack Dock for iPad ($199) is a comprehensive, studio-quality iPad recording interface featuring dual Focusrite microphone preamps for plugging in two microphones plus two line inputs for guitar or bass, an instrument independent stereo monitor and headphone output, and a USB port for class-compliant MIDI instruments and

controllers. The iTrack Dock provides everything required to record, monitor, and control music on Lightning iPads—with precision Focusrite digital conversion at up to 24-bit, 96-kHz sampling. It even charges and powers the iPad at the same time. The iTrack Studio ($199) is a complete recording package for iPad, Mac, and PC. This is a great low-cost solution for school labs. It includes iTrack Solo audio interface, CM25s, studio condenser mic/ cable, HP6s stereo headphones, 1.2m device link cable, USB cable, and recording/ mixing software.

M-Audio introduced the Deltabolt 1212 Thunderbolt 12-channel interface ($499). It comes with Octane X preamps, audio performance up to 32-bit, 192-kHz, full duplex 12-input/12-output simultaneous recording in a compact desktop form.

Mike Klinger is the owner of The Synthesis Midi Workshop (www.midiworkshop.com), which specializes in educational sales and training in music technology. He offers music technology courses online and at his Retreat Center in Carson, Washington, in the Columbia River Gorge.

JUST FOR KICKS

Korg introduced the new Little Bit Synth Kit ($159). It’s a build-you-own synthesizer kit that comes complete with power adapter, oscillator, keyboard, micro-sequencer, envelope generator, filter, delay, mix, split, speaker, battery, cable, and instructions (download). How fun is this?

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Scholarships Available Apply for choral or instrumental scholarships by March 31, 2015.

cumberland.edu/music Contact Molly Agee at (615) 547-1331 or magee@cumberland.edu Tennessee Music Education Assocation | 2 1

It Pays to Step Up to Yamaha!

Purchase any qualifying “Step Up” Yamaha stringed or wind instrument between October 1, 2014 and December 31, 2014 and receive either a $50 or $100 rebate, corresponding to the level of your qualifying “Step Up” instrument purchase.

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2 2 | TENNESSEE MUSICIAN | 2015 | VOLUME 67, NO. 2

TMEA PROFESSIONAL DEVELOPMENT CONFERENCE PREVIEW

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E ARE PLEASED TO ONCE AGAIN host the TMEA Professiona l Development Conference in the Home of the Blues and the Birthplace of Rock N’ Roll, Memphis! The event will be held in Cannon Center for the Performing Arts and the Cook Convention Center. The conference hotel is the Sheraton Memphis Downtown, which is attached to the convention center, has just completed a multi-million dollar renovation. This renovation has completely changed the look and layout of the lobby, as well as renovating all guest rooms. We are very excited about these changes and we are sure you will enjoy your stay.

The event this year is more streamlined, with careful consideration to the timing of various events. There are no sessions that are at the same time in the same discipline and no meetings during a session.

Other changes this year include discipline specific “visit the exhibits” time, in addition to the conference-scheduled time. There are fewer, but higher quality sessions for conference attendees.

No performances are scheduled during the All-State students’ rehearsal breaks.

More Conference Performances will be held in the state-of-the-art Cannon Center.

THE HEART OF IT ALL Memphis Cook Convention Center and Cannon Center for the Performing Arts, Memphis, Tennessee.

Brad Turner TMEA Conference Chair

The Event This Year Is More Streamlined, With Careful Consideration To The Timing Of Various Events.

EXHIBIT HALL HOURS

THURSDAY, APRIL 9, 2015 9:00 am – 6:00 pm (Grand Opening – 11:00 am)

Friday, April 10, 2015 9:00 am – 3:00 pm

There are many restaurants and attractions located near the convention center within walking distance. The National Civil Rights Museum is located right off of Main Street on Mulberry Street.

The Memphis Grizzlies will be hosting the New Orleans Pelicans on April 8, in the FedEx Forum. Rain – A Tribute to the Beatles will be performing at the Orpheum Theater on April 11.

Of course, you are within a few blocks of world famous Beale Street!

We are very excited about this fantastic venue and city to host the All-State Ensembles and TMEA Professional Development Conference! I encourage you to book your hotel and attend this wonderful event.

Additional open time to visit the exhibits can be found in the schedule.

(12:00 pm – 12:50pm – No sessions scheduled Great time to vist the exhibits!)

Tennessee Music Education Assocation | 2 3

TMEA PROFESSIONAL DEVELOPMENT CONFERENCE PREVIEW 2:00 - 2:50 PM

3:00 - 3:50 PM

4:00 - 4:50 PM

Creating Your Own Resources for Student Engagement and Empowerment - Chatherine Wilson & Angela Tipps - Room: 205 Children’s Literature in the Orff Music Classroom Michael Beyl - Room: L2 Do Recorders & Technology Play Well in the Classroom?

Quaver K - 5 Curriculum Overview Graham Hepburn. Room: L4

CONFERENCE MEETINGS

WEDNESDAY, APRIL 8, 2015

Choir Professional Development Sessions

12:00 PM

6:00 PM

TMEA Board Meeting and Luncheon – Sheraton Nashville Room Tennessee Division II Marching Band Contest Roundtable – TMEA Suite, Sheraton

THURSDAY, APRIL 9, 2015 8:00 AM 9:00 AM

11:00 AM 12:30 PM 1:30 PM 2:30 PM 5:30 PM 5:30 PM 6:30 PM

General Music Caucus – Room: 205 General Session – Awards Presentation and performances by the Tennessee Treble Choir and All-Collegiate Choir – Cannon Center Exhibit Hall Grand Opening – Visit Exhibits Awards Luncheon – Sheraton Nashville Room TN Musician Editorial Board and Staff Meeting – Room: L4 Da Capo Meeting – TMEA Suite Sheraton Jazz Caucus – Room: 203 Higher Education Caucus – Room: 205 Phi Beta Mu Meeting – TMEA Suite Sheraton

FRIDAY, APRIL 10, 2015 9:00 AM 10:00 AM 10:00 AM 11:00 AM 3:00 PM 3:00 PM 6:00 PM

Tennessee Bandmasters Association Meeting – Room: 204 Orchestra Caucus – Room: 205 CNAfME Business Meeting – Room: L4 ASTA Membership Luncheon – Sheraton Nashville Room Band Caucus – Room: 202 Choir Caucus and Roundtable – Room: 204 Phi Beta Mu Meeting – TMEA Suite Sheraton

THURSDAY, APRIL 9, 2015 12:30 - 1:20 PM

2:30 - 3:20 PM

3:30 - 4:20 PM

FRIDAY, APRIL 10, 2015 9:00 - 9:50 AM

10:00 - 10:50 AM

1:00 - 1:50 PM

2:00 - 2:40 PM 4:00 - 4:50 PM

Improving Concentration Skills for Singers - Kyle Ferrill - Room: 204 Integrating Melodic and Harmonic Diction into Theory / Aural Skills Curricula: A Comprehensive Musicianship Approach - Eric Wilson - Room: 203 ACDA Undergraduate Conducting Master Class - Jeffery Ames - Room: 202 Visit the Exhibits How Long is a Dot - Jason Bishop - Room: 203

Orchestra Professional Development Sessions THURSDAY, APRIL 9, 2015 12:30 - 1:20 PM 1:30 - 2:20 PM

2:30 - 3:20 PM

PROFESSIONAL DEVELOPMENT SESSIONS

Choral Conducting for Secondary School Directors, A. Jan Taylor – Room: Ballroom D Chopping Down the Rhythm Tree: The Status Quo Has Got to Go! - Curtis Tredway – Room: 204 Stax Music Academy Presents: Welcome to Soulsville - Jiana Hunter - Room: Nashville, Sheraton

3:30 - 4:20 PM 4:30 - 5:20 PM

Visit the Exhibits Uncovering Tales of Violinist’s Left-Hand Technique Soh-Hyun Altino - Room: 203 Common Bowing Challenges in Orchestral Playing Emily Hanna Crane - Room: 202 Music Theory is Your Friend - Douglas Gordon - Room: 203 Rhythm: Cut the Learning Curve 50% - 90% Kevin Fuhrman - Room 204

General Music Professional Development Sessions

THURSDAY, APRIL 9, 2015

FRIDAY, APRIL 10, 2015

11:30AM -12:20 PM

12:30 - 1:20 PM

2:30 - 3:20 PM

3:30 - 4:20 PM

4:30 - 5:20 PM

5:30 - 6:20 PM 6:30 - 7:20 PM

Stay Calm and Teach General Music - Sarah Burns - Room: L4 Offervations: Orff Techniques for a Level 5 Observation - David Potter - Room: L2 The Choral Warm-up Experience – Rollo Dilworth Room: L2 Teaching About Diversity Through Music Appreciation - Catherine Wilson & Angela Tipps - Room: L4 Music Literacy What’s Common in the Core Susanne Burgess - Room: L2 Why C is Red? - Emelyne Bingham - Room: L4 Technology & The Quaver Music 6 - 8 Curriculum Graham Hepburn - Room: L2

FRIDAY, APRIL 10, 2015 9:00 - 9:50 AM

10:00 - 10:50 AM 11:00 - 11:50 AM

1:00 - 1:50 PM

Sing, Play, Think, Learn - Margaret Campbell-Holman - Room L2 Visit the Exhibits Feel Like Funkin’ It Up: Classroom Application of the African American Music Aesthetic Loneka Battiste - Room: L2 Rhythmic Harmony: Extreme Body Percussion for Older Students - Sarah Burns - Room: L2

2 4 | TENNESSEE MUSICIAN | 2015 | VOLUME 67, NO. 2

1:00 - 1:50 PM

2:00 - 2:50 PM

4:00 - 4:50 PM

Striking a Balance: Student Centered Instruction in the Large Ensemble Paradigm Emelyne Bingham - Room: Nashville, Sheraton An Overview of Shifting: From Technical Issues to Artistic Possibilities - Wesley Baldwin - Room: 203 Achieving a 5 in 4/4 time: How to Fit the TEAM rubric to Your Existing Rehearsal - Lisa Michaels - Room: 205

Band Professional Development Sessions THURSDAY, APRIL 9, 2015 12:30 - 1:20 PM

1:30 - 2:20 PM

4:30 - 5:20 PM

6:30 - 7:20 PM

TBA Marching Evaluation System Training Session Room: 202 What Makes My Students Tick? Educational Psychology to Improve Study and Practice Habits in Student Musicians - Eric Branscome - Room: 205 Express Yourself: Enhancing Communications through Expressive Conducting Armand Hall & Ryan Fisher - Room: 202 The Band Director’s Guide to Concert Percussion: How to use “drummer” language to get the sounds you want - Jason Walsh - Room: 202

April 8–11, 2015 MEMPHIS, TENNESSEE Band Professional Development Sessions Continued

FRIDAY, APRIL 10, 2015 8:00 - 8:50 AM 11:00 - 11:50 AM

1:00 - 1:50 PM 4:00 - 4:50 PM

Percussion from the Podium - Michael Mann - Room: 203 Conducting Your Way to Better Classroom Management - Sarah Labovitz - Room: 202 Visit the Exhibits Achieving a 5 in 4/4 time: How to Fit the TEAM rubric to Your Existing Rehearsal -Lisa Michaels - Room: 205

Collegiate Professional Development Sessions THURSDAY, APRIL 9, 2015 11:30AM - 12:20 PM 12:30 - 1:20 PM 3:30 - 4:20 PM

TMEA Research Poster Session 1 - Room: 205 TMEA Research Paper Session 2 - Room: 204 TMEA Research Poster Session 3 - Room: 205

FRIDAY, APRIL 10, 2015 1:00 - 1:50 PM

Why Bands Stuck in the Curriculum and Why You Should Know - William Lee - Room: 204

TI:ME TECHNOLOGY SESSIONS

All sessions will take place in L6, the TI:ME Room

THURSDAY, APRIL 9, 2015

Session 1 11:30 AM Four Simple Ways to Record Your Students Jody Underwood Session 2 12:30 PM Music Technology Labs - The Easy Way! Jody Underwood Session 3 1:30 PM Technology Tools for the K-12 Music Instructor – Including iPads!

Jody Underwood

Session 11 10:00 AM, FRIDAY Building a Digital Portfolio of Your Students’ Work with Ease Robin Hodson Session 12 11:00 FRIDAY SmartMusic Tips and Tricks Larry Marchese Session 13 1:00 PM, FRIDAY It’s About TI:ME Mike Lawson Session 14 2:00 PM, FRIDAY Sightreadingfactory.com Don Crafton Session 15 3:00 PM, FRIDAY Soundboard 101 Floyd Richmond Session 16 4:00 PM, FRIDAY Avid for Music Educators: Pro Tools Jeremiah Ellison

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Session 4 2:30 PM It’s About TI:ME Mike Lawson

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Session 5 3:30 PM Composing Music With Notation (Classroom Activities) Floyd Richmond

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Session 6 4:30 PM Teaching with music resources in the cloud Robin Hodson Session 7 5:30 PM Avid for Music Educators: Sibelius Jeremiah Ellison Session 8 6:30 PM Finale 2014 Composing and Arranging Tips and Tricks Larry Marchese

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Session 9 8:00 AM, FRIDAY Assessing Students Easily Using Cloud Based Music Software Robin Hodson Session 10 9:00 AM, FRIDAY GarageBand iPad Activities for the Music Classroom Floyd Richmond

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TMEA Selected Performance Ensembles Overview

Ensemble Performance Times and Locations

UNIVERSITY OF MEMPHIS - CHAMBER CHOIR

- Dr. Ryan Fisher, director Chamber Choir is a 16-20 member select chamber ensemble composed of undergraduate and graduate students at the University of Memphis. This auditioned ensemble performs works of many style periods ranging from early Renaissance through contemporary.

WHITE STATION HIGH SCHOOL CHORALE

- Nikisha Williams, director The Chorale is the premier vocal ensemble at White Station High School. The Chorale is an auditioned, fifty-voice ensemble, and is made up of students in the 10th-12th grades. In April 2012, the Chorale was invited to perform at the 2012 Tennessee Music Educator’s Conference, an honor reserved for only the best choirs in the State of Tennessee.

TENNESSEE TECHNOLOGICAL UNIVERSITY PERCUSSION ENSEMBLE

- Dr. Colin Hill, director The Tennessee Tech Percussion Ensemble, directed by Dr. Colin J. Hill, plays a significant role in the percussion curriculum at TTU. Comprised of an all-undergraduate membership, the ensemble performs an average of four concerts annually, in addition to monthly campus presentations with the TTU Percussion Club.

HUME-FOGG ACADEMIC MAGNET HIGH SCHOOL SILVER JAZZ BAND

- Dr. Richard Ripani, director Hume-Fogg Academic High School is an inner-city, academic magnet high school in Nashville/Davidson County Tennessee. As a part of Metropolitan Nashville Public Schools, we serve a very diverse community.

Hume-Fogg is a nationally recognized public high school, having been ranked academically as one of the top 50 in the USA for several years by both Newsweek and US News and World Report.

HENRY OLIVER MIDDLE SCHOOL WIND ENSEMBLE

- Susan Waters, Katie Harrah, and Kevin Jankowski, directors Although a comparably young program, the Oliver Middle School Bands have already received numerous local, regional, state, and national awards. The bands have consistently received Superior ratings at MTSBOA adjudications as well as Solo and Ensemble Festival, and are 8-time recipients of the Tennessee Bandmasters Association Sweepstakes Award.

MARTIN LUTHER KING JR. ACADEMIC MAGNET HIGH SCHOOL WIND ENSEMBLE

- Will Sugg and Todd Shipley, directors This is the Martin Luther King, Jr. Academic Magnet High School Wind Ensemble’s third invitation and performance at the Tennessee Music Education Association State Conference. The MLK Band program is recognized as one of the finest in the state and the Southeast. There are over 250 students actively involved in the program in one of five bands serving grades 7-12.

TULLAHOMA HIGH SCHOOL SYMPHONIC BAND

- Justin Scott and Greg English, directors Tennessee Bandmasters’ Association Hall of Fame Honor Band The Tullahoma Band has a long history of excellence. Built on foundations of sequential learning, team teaching, and private instruction, the program has been able to maintain a consistent standard of excellence for over thirty years. The Tullahoma Band serves East Middle School, West Middle School, and Tullahoma High School. The high school program offers Symphonic Band, Concert Band, Marching Band, Jazz Band, and various chamber ensembles.

BELMONT UNIVERSITY WIND ENSEMBLE

- Dr. Barry Kraus, director The Belmont University Wind Ensemble is one of the premier instrumental ensembles in the Belmont School of Music. The members, representing more than 30 states and multiple degree programs on campus, are selected by audition. During the last decade, the ensemble has quickly developed a reputation for performance quality and creative programming featuring diverse repertoire.

UNIVERSITY OF TENNESSEE AT MARTIN WIND ENSEMBLE

- Dr. John Oelrich, director The Wind Ensemble meets each semester and consists of the finest wind, brass and percussion musicians on campus. The ensemble utilizes a flexible instrumentation to accommodate the wind band’s large and varied repertoire. Including both standard and contemporary works, the Wind Ensemble performs compositions representing the vast history of the wind band and cultures worldwide.

MEMPHIS CENTRAL HIGH SCHOOL CONCERT SINGERS

WEDNESDAY, APRIL 8, 2015 7:30pm – Tennessee Bandmasters Association Honors Recital Ballroom A

THURSDAY, APRIL 9, 2015 9:00 – 11:00am: General Session - Cannon Center TN Treble Choir Warm-up Cannon, Collegiate Choir Warm-up Ballroom A. 8:00am 11:00am: Exhibit Hall Grand Opening.

11:30am – 12:20pm: MLK Jr. Academic Magnet High School Wind Ensemble (10:30am Warm-up) Ballroom A

1:30 – 2:20pm: University of Memphis Chamber Choir (12:30pm Warm-up) Cannon Center 2:30 – 3:20pm: Tennessee Tech University Percussion Ensemble (1:30pm Warm-up) Ballroom A 3:30 – 4:20pm: Henry Oliver Middle School Wind Ensemble (2:30pm Warm-up) Cannon Center 6:30 – 7:20pm: Memphis Central High School Concert Singers (5:30pm Warm-up) Ballroom A 7:30 – 8:20pm: University of Tennessee at Martin Wind Ensemble (6:30pm Warm-up) Cannon Center

FRIDAY, APRIL 10, 2015 10:00 – 10:50am: Tullahoma High School Symphonic Band TBA Hall of Fame Performance (9:00am Warm-up) Cannon Center 11:00am – 11:50pm: White Station High Chorale (10:00am Warm-up) Ballroom A 12:00 – 12:50pm: No Performance Visit Exhibits 2:00 – 2:50pm: Belmont University Wind Ensemble (1:00pm Warm-up) Ballroom A 5:00 – 5:50pm: Hume-Fogg Academic Magnet High School Silver Jazz Band (4:00pm Warm-up) Ballroom A 6:00pm: Friday Night Concerts Cannon Center

The Concert Singers is one of six performing choral ensembles at Central High School in Memphis, Tennessee.

The group, which consists of 48 select singers, consistently receives superior ratings at state, regional and national festivals. The ensemble performs diverse repertoire from all style periods of history ranging from the Renaissance to vocal jazz. The Concert Singers performed for the Tennessee Music Education Association State Conference in 2003 and again in 2011.

27 Tennessee Music Education Assocation | 27

Tennessee All-State Registration, Auditions, and Rehearsal Locations WEDNESDAY, APRIL 8, 2015 Student Registration (All Ensembles): 3:00 – 5:00pm (CST)

Cook Convention Center Main Lobby

Judges Meeting:

Band: 5:00pm (CST) Cannon Center Ballroom C Orchestra: 5:00pm (CST) Cannon Center Ballroom E

Rehearsal Locations:

9 – 10 Orchestra: Sheraton Heritage Ballroom 11 – 12 Orchestra: Cannon Center Ballroom E 9 – 10 Band: MCCC Chickasaw 11- 12 Band: Cannon Center Ballroom C SATB Chorus: MCCC Cotton Row Women’s Chorus: L13 – L14 Men’s Chorus: L10 – L11 Jazz Band: River Bluff

Orchestra Audition Locations (Strings Only): 2nd Floor Sheraton Warm-up: Sheraton Ballroom Violin 1, 9 – 10: Jackson Viola 9 – 12: Beale

Cello 9 – 12: Oxford Bass 9 – 12: St. Louis Violin 2, 9 – 10: Knoxville Violin 1, 11 – 12: Natchez Violin 2, 11 – 12: Memphis

All-State Band and Orchestra Wind and Percussion Audition Locations: Cook Convention Center and Cannon Center Warm-up: Cannon Center Ballroom B

Flute 9 – 12: L6 Clarinet 9 – 10: L4 Clarinet 11 – 12: L2 Saxes: L 9 Trumpet 9 – 12: Cannon 201 Double Reeds/Low Reeds: South Mezz Conference French Horn 9 – 12: Cannon 203 Trombone 9 – 12: Executive Conf.

Euphonium/Tuba 9 - 12: Ballroom E Percussion 9 – 12 & Orchestra: Ballroom C Orchestra Woodwinds: Chickasaw Orchestra Brass: Cannon 205

Tennessee All-State Ensemble Conductors Overview Alfred L. Watkins – 9th and 10th Grade All-State Concert Band

Joe Miller – SATB Choir

Mr. Alfred L. Watkins is the recently retired Director of Bands at Lassiter High School, a position he held since 1982, completing a 37-year career as a high school director of bands.

Joe Miller is conductor of two of America’s most renowned choral ensembles: the Westminster Choir and the Westminster Symphonic Choir. He is also director of choral activities at Westminster Choir College of Rider University.

Kevin L. Sedatole – 11th and 12th Grade All-State Concert Band

Paul Carey – All-State Men’s Chorus

Kevin Sedatole serves as Director of Bands, Professor of Music, and Chair of the conducting area at the Michigan State University College of Music.

Kathleen DeBerry Brungard – 9th and 10th Grade All-State String Orchestra

Kathleen DeBerry Brungard received a Bachelor degree cum laude in music education from Wesleyan College, Macon, Georgia, and a Master of Music degree from Northwestern University in Evanston, Illinois.

Giancarlo Guerrero – 11th and 12th Grade All-State Symphony Orchestra

Giancarlo Guerrero is the Music Director of the Nashville Symphony Orchestra and Principal Guest Conductor of The Cleveland Orchestra’s Miami Residency.

Rodney Whitaker – All-State Jazz Band

Internationally renowned bassist and Mack Avenue recording artist, Rodney Whitaker, currently holds the titles of Professor of Jazz Bass and Director of Jazz Studies at Michigan State University.

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Commissioned Composer – Dies Irae for the 2015 TMEA AllState Men’s Choir Paul Carey studied composition with Alfred Blatter, Herbert Bruen, Ben Johnston, and Eugene Kurtz, and harp with Shirley Blankenship at the University of Illinois at Urbana-Champaign.

Dr. Robert Ivey – All-State Women’s Chorale

Robert Ivey is an Assistant Professor of Music at Brenau University where he conducts the Vocal Chamber Ensemble and Spectrum Singers. He also directs the music education program that has grown in numbers since joining the Brenau music faculty in 2009.

Rollo A. Dilworth – Tennessee Treble Choir

Rollo A. Dilworth is Professor of Music and Director of Choral Activities and Music Education at the North Park University School of Music in Chicago, Illinois. He also serves as director of the Music Institute of Chicago Children’s Choir.

A. Jan Taylor – Tennessee All-Collegiate Choir

A. Jan Taylor, educator, pianist, singer and choral conductor, is Director of Choral Music Activities at Prairie View A&M University. Prior to her appointment at Prairie View, Taylor taught general music, in the Houston Independent School District. She has served as adjudicator and choral clinician for numerous choral competitions, festivals, and regional choirs across the State of Texas.

Tennessee All-State Ensemble Rehearsal Schedule WEDNESDAY, APRIL 8, 2015

3:00 – 5:00pm Registration for all ensembles (main lobby Cook Convention Center) 5:30pm Auditions for all Bands and Orchestras 7:00 – 9:00pm Rehearsal for all Choral and Jazz Band in designated areas

THURSDAY, APRIL 9, 2015 9:00am – 12:00pm 2:00 – 5:00pm 7:00 – 9:00pm 9:00am – 11:30am 11:30am 2:00 – 5:00pm 7:00 – 9:00pm

All Instrumental Ensembles: Rehearsal Rehearsal Rehearsal All Choral Ensembles: Rehearsal *College Fair Rehearsal Rehearsal

Designated areas Designated areas Designated areas Designated areas Exhibit Hall Designated areas Designated areas

FRIDAY CONTINUED

All Choral Ensembles: Rehearsal Designated areas Rehearsal/Staging Designated areas SATB Warm-up Rehearsal room Men’s Warm-up Rehearsal room Women’s Warm-up Rehearsal room Concert Schedule: 6:00pm SATB Choir 7:30pm Women’s Chorale 6:45pm Men’s Chorus 8:30pm Jazz Band (Ballroom A)

9:00am – 12:00pm 2:00 – 5:30pm 5:00pm 5:45pm 6:30pm

SATURDAY, APRIL 11, 2015

Concert Schedule: 9:00am String Orchestra 10:00am Symphony Orchestra

11:00am 9-10 Concert Band 12:00pm 11-12 Concert Band

FRIDAY, APRIL 10, 2015 9:00 – 11:30am 11:30am 2:00 – 5:00pm 9:00 – 11:30 am 11:30am 2:00 – 4:00pm 7:30pm

Band and Orchestra Ensembles: Rehearsal *College Fair Rehearsal Jazz Band: Rehearsal *College Fair Rehearsal Sound Check / Warm-up

Designated areas Exhibit Hall Designated areas Designated areas Exhibit Hall Designated areas Ballroom A

Compose Your Future Bachelor of Music Degrees in Performance and Education Accredited by the National Association of Schools of Music Nationally recognized traditional, jazz, and contemporary ensembles Competitive scholarships that can provide full tuition based on audition

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Tennessee All-State Ensemble Repertoire 9th and 10th Grade All-State Concert Band Alfred L. Watkins, conductor

Program to be selected from the following: Fanfare and Flourishes Fantasy on “Prospect” Sheltering Sky Sabre and Spurs March First Suite in E-flat for Military Band

All-State Men’s Chorus Paul Carey, conductor James Curnow David Gorham John Mackey John Philip Sousa/Schissel Gustav Holst

11th and 12th Grade All-State Concert Band Kevin L. Sedatole, conductor

Program to be selected from the following: “Marche Hongroise” from La Damnation de Faust Rest Four Scottish Dances I. Pesante II. Vivace III. Allegretto IV. Con brio Give Us This Day: Short Symphony for Band

Hector Berlioz/Gotoh Frank Ticheli Malcom Arnold/Paynter

David Maslanka

9th and 10th Grade All-State String Orchestra Kathleen DeBerry Brungard, conductor

Program to be selected from the following: Concerto Grosso in D minor, Op. 3, No. 11 Antonio Vivaldi I. Allegro II. Largo e Spiccato III. Allegro “Nimrod” from Enigma Variations Edward Elgar/ Barnard Fiesta Jubiloso Joseph Compello Signs of Life Russell Peck II: Allegro Irish Tune from County Derry Percy Aldridge Grainger Hoe Down from “Rodeo” Aaron Copland

11th and 12th Grade All-State Symphony Orchestra Giancarlo Guerrero, conductor Russian Easter Overture Capriccio Italien

Nicolai Rimsky Korsakov Pyotr Ilyich Tchaikovsky

All-State Jazz Band Rodney Whitaker, Conductor

Program to be selected from the following: Tone’s for Joan’s Bones Chick Corea/Tomaro Superstition Stevie Wonder/Tomaro Sweet Georgia Brown Ben Bernie, Maceo Pinkard, Kenneth Casey/Nestico A Night in Tunisia Dizzy Gillespie/Mossman Cottontail Duke Ellington Django John Lewis/Tomaro

All-State SATB Choir Joe Miller, conductor

Program to be selected from the following: Why Learne to Sing?

Nunc Dimitis Der Abend, Op. 62, No. 2 Elegy Ballade to the Moon Witness

Patrick Dunnevant Gustav Holst Johannes Brahms Daniel Elder Daniel Elder Stacy Gibbs

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Program to be selected from the following: Joshua Fit de battle Abendlied Tshotsholoza The Word was God O vos omnes Sweet Rivers Dies Irae Lambscapes Barnes

Moses Hogan/Eklund Josef Rheinberger/Carey Jeffery Ames Rosephanye Powell Carlo Gesualdo/Carey Reginald Unterseher Paul Carey Eric Lane

All-State Women’s Chorale Robert Ivey, conductor

Program to be selected from the following: All That Hath Life and Breath Il Est Bel et Bon/He Is Good and Handsome Ich wollt’, meine Lieb’ Tundra Sing Me to Heaven No Time Revelation Still I Rise

Rene Clausen/Weiler Pierre Passereau/Greyson Felix Mendelssohn Bartholdy Ola Gjeilo Daniel Gawthrop Arr. Susan Brumfield Z. Randall Stroope Rosephanye Powell

Tennessee Treble Choir Rollo A. Dilworth, conductor

Program to be selected from the following: Art Thou Troubled?

J’entends le Moulin (I Hear the Windmill) Shenandoah The Duel Al Shlosha D’Varim Let Me Fly

Tennessee All-Collegiate Choir A. Jan Taylor, conductor

Georg Friedrich Händel/Leavitt arranged by Emily Crocker Arranged by Rollo Dilworth Cristi Cary Miller Allan E. Naplan Arranged by Rollo Dilworth

Program to be selected from the following: Gloria from The Masque of Angels Dominic Argento Weihnachten from Sechs Sprüche, Op. 79 Felix Mendelssohn-Bartholdy Pilgrim’s Hymn from The Three Hermits Stephen Paulus Take, O Take Those Lips Away from Three Lyrics for Chorus George Walker O Western Wind from Three Lyrics for Chorus George Walker Hold On! Marques Garrett

World Class Faculty and Affordable Tuition Personal Attention and the Benefits of a Large University New Natalie L. Haslam Music Center

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For Music Major or Minor:

January 15, 2015: Graduate vocal February 7, 2015: Graduate February 14, 2015: Undergraduate February 21, 2015: Undergraduate March 8, 2015: Graduate

For Pride of the Southland Marching Band Non-Majors: February 22, 2015 March 1, 2015 April 4, 2015

• David Potter – Orffervations: Orff Techniques for a Level 5 Observations

TMEA STATE GENERAL MUSIC CHAIR Charlene Cook

• Michael Beyl – Children’s Literature in the Music Classroom • Sarah Burns – Stay Calm and Teach General Music and Rhythmic Harmony: Extreme Body Percussion for Older Students • Catherine Wilson and Angela Tipps – Teaching About Diversity Through Music Appreciation and Creating Your Own Resources for Student Engagement and Empowerment • Emelyne Bingham – Why C is Red: Teaching Music to Students on the Autism Spectrum

I

’M SO EXCITED

, and no, I can’t hide it (someone should use that in a song . . .). Over the last few weeks I’ve had the pleasure of choosing sessions for the General Music strand of our TMEA Professional Development Conference coming up April 9 – 11th. I have also been contacting ALL of the presenters informing them they have been selected to present and I can tell you they are all pleased and excited to have the opportunity to share their thoughts with us. I would like to encourage you to join us in Memphis to gain professional knowledge and network with colleagues from across the state.

When choosing sessions for General Music, I quickly realized this is a wide-ranging area. What is great for those of us teaching Pre-K and Kindergarten students won’t be as exciting for those teaching secondary students, therefore I had to ask conference chair Brad Turner for “extra” sessions. He graciously said yes (Thanks Brad). I hope the sessions I have chosen will be appropriate for your needs.

Thursday will begin with the performance of the Tennessee Treble Honor Choir under the direction of Dr. Rollo Dillworth during the conference opening session. Dr. Dillworth will present a session focusing on choral warm-ups later in the day. I want to take this opportunity to thank Tiffany DePriest for all the work she has done to arrange and organize the choir. The hours have been endless. I also want to thank all those who listened to the

auditions in November. The General Music caucus will be held during the pre-concert rehearsal time – please join us bright and early. I would like to propose some ideas for summer professional development and would like suggestions and feedback.

Look forward to these sessions on Thursday and Friday: • Loneka Battiste – Feel Like Funkin’ It Up: Classroom Applications of the African American Music Aesthetic

3 2 | TENNESSEE MUSICIAN | 2015 | VOLUME 67, NO. 2

• Quaver Music will present two sessions using their technology centered programs • TI:ME (Technology In Music Education) will also present technology focused sessions I look forward to seeing you in Memphis. I want to “pick your brains” concerning future plans for your professional development needs and wants.

-Charlene Cook

MARYVILLE, TENNESSEE

Degrees and performance opportunities: B.A. in Music B.M. in Music Education B.M. in Vocal Performance B.M. in Music Theory/Composition Ensembles: Orchestra, Concert Band, Jazz Band, Concert Choir, Community Chorus, and small a cappella groups Music scholarships are available, and worth up to full tuition!

Call Ashley Abbott at 865.981.8153 for details.

MARY VIL L E C O L L EG E .ED U

MARYVILLE COLLEGE MUSIC DEPARTMENT

TMEA STATE CHORAL CHAIR Janet Johnson

P

APERWORK ,

field trip forms, permission slips, hotel reservations, sub plans. Does your All State/ TMEA Conference check list look like this? It sometimes feels that it’s so overwhelming and stressful to make the preparations to attend the conference and be away from school for several days. In fact, I’ve had some colleagues choose not to attend because “it’s too expensive,” or “too much work to just send a few (or maybe just one) students to All State.” But for me, as soon as I leave school on that first day of conference and head towards our annual professional development event, I feel this sense of relief and anticipation as I think about seeing friends and colleagues from across the state, attending the motivating sessions and performances, and enjoying the excitement my students have at being able to sing in these wonderful choruses.

For your sessions, you have many choices which range from getting down to the nitty-gritty with music theory skills in the choral rehearsal, enhancing your performances with choreography, improving concentration skills for singers, and learning to include some “soul” in your

repertoire. ACDA will present a Master Class of college student conductors who will conduct an area high school choir and be critiqued by a master conductor.

My students were privileged to be the demo choir a few years ago and it proved to be a very enjoyable and valuable experience for the high school singers, the college student conductors, and the audience of TMEA members.

As well as getting valuable information and being inspired at the sessions, we have several wonderful choirs performing during the conference. Brad Turner, who with input from the board in creating the schedule, has worked very hard not to have any overlap with sessions and performances. This year you shouldn’t have to choose between attending a session and going to a choral concert. Please look over the schedule very carefully and arrange to attend as many of these events as possible.

It’s really discouraging for a clinician or a choral director who has worked so hard on their presentation to have a sparse audience.

Our choral caucus/roundtable will meet on Friday, April 10 at 3:00 pm in room 204.

Please try to attend this meeting. This is one of the few chances that we as choral directors across the state get to meet each other and share ideas. I would like to focus on the round table aspect of the meeting.

At the present moment, things are rather calm with no “burning issues” that must be debated and voted on. I’ve been warned by some in my region NOT to create any!

If you have a topic you’d like to bring up (and lead discussion on) or an issue you think we could all relate to, please email me. As you walk through the convention center, you will see groups of music directors sitting together laughing, sharing ideas, solving classroom problems and just generally enjoying each other’s company. At the roundtable, we have a chance to connect the 3 regions.

In teaching both middle and high school choirs, I see the importance of building that connection between elementary,

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middle, and high school. There has been some discussion of including an auditioned middle school chorus to TMEA in the future. It would perhaps work like the Treble Choir does now, with auditions by CD and then performing on that first day on the same concert as the elementary group. The reasoning behind this is that those who participate in the awesome Treble Honor Choir then have to wait several years before they are able to participate again. There are several of us who would like to keep that momentum going with our young singers.

Lastly, I’d like to encourage you to regularly check out the TMEA website and especially the choral page for updates and conference information. I’ve tried to include calendar events, reminders, and general chorus information. One new addition is the requirement for all students to have a notarized medical form that you will make a copy of and turn in at registration. Everyone should have received a director’s packet from your region which will have All State information and copies of documents you can use. If you have events or notices you would like for me to include on our website page, send me an email.

I wish you the best of luck in your upcoming festivals and performances and look forward to seeing you at conference.

-Janet Johnson

This year you shouldn’t have to choose between attending a session and going to a choral concert.

TMEA STATE ORCHESTRA CHAIR Ben Reagh

• Giancarlo Guerrero, Nashville Symphony (11th-12th Symphony Orchestra) -Please visit www.tnmea.org/orchestra for more details and their music selections.

All-State Orchestra Concerts on Saturday, April 11: • 9th-10th String Orchestra- 9:00am • 11th-12th Symphonic Orchestra10:00am Meetings on Friday, April 10 • ASTA Board Meeting- 9:00am • Orchestra Caucus- 10:00am • ASTA Luncheon- 11:00am

T

HE 2015 TMEA CONFERENCE WILL BE HERE SOON.

We are excited to be returning to the Cook Convention Center and the Cannon Center for the Performing Arts in Memphis for a 2nd straight year. The 2014 conference was a success, and the TMEA board and council has been working very hard in the preparations for this year’s conference to make it even better, specifically in the areas of scheduling and logistics. I hope everybody has already begun making plans to attend the conference and its sessions and concerts.

The conductors for the All-State orchestras are: • Kathleen Brungard, renowned educator, author, and clinician (9th-10th String Orchestra)

Here are some highlights of what the conference will have to offer that may be of special interest to orchestra/strings teachers:

Sessions addressing specific string techniques: •Violinist’s Left Hand Technique- SohHyun Altino, University of Memphis • Bowing Challenges in Orchestral Playing- Hannah Crane, Austin Peay State University • Overview of Shifting: From Technical to Artistic- Wesley Baldwin, University of Tennessee-Knoxville Sessions featuring a performance ensemble: • Student Centered Instruction in the Large Ensemble- Emelyne Bingham, Vanderbilt University -This session will feature the Nashville Youth Strings Orchestra as the demo group.

Sessions addressing topics for all teachers of instrumentalists: • Chopping Down the Rhythm Tree- Curtis Treadway, University of Texas- El Paso • Rhythm: Cut the Learning Curve 5090%- Kevin Fuhrman, Minneapolis, MN • Music Theory is your Friend- Douglas Gordon, Jacksonville State University

3 6 | TENNESSEE MUSICIAN | 2015 | VOLUME 67, NO. 2

• Achieving a 5 in 4/4 Time: Fitting TEAM Rubric in Your Rehearsal- Lisa Michaels, Fort Loudon Middle School • Why C is Red? Autism and Music- Emelyne Bingham, Vanderbilt University • What Makes My Students Tick? Educational Psychology and Practice Habits- Eric Branscome, Austin Peay State University *(For session dates and times, be sure to refer the official final conference schedule along with verifying those meeting times listed above.)

In closing, I hope you will agree that we have a great list of presenters and topics lined up for the upcoming conference, with the focus being on ideas, techniques, and strategies that will make us better music educators. I believe this year’s conference offers sessions that can, and should, benefit everyone. And I am looking forward to seeing you all in Memphis.

-Ben Reagh

A P PA L AC H I A N S TAT E U N I V E R S I T Y

AUDITION DATES: *Saturday, December 6, 2014

Saturday, February 14, 2015

Instrumental Areas Only

Instrumental Areas Only

*Saturday, January 17, 2015

Saturday, February 28, 2015

All Areas

Instrumental Areas Only & Hayes Young Artist Competition

*Saturday, January 31, 2015 All Areas

($7,500 annual renewable scholarship)

*To be eligible for the competition, prospective students must audition on these dates.

music.appstate.edu/prospective-students • 828-262-3020

THE BRAINS OF A NATIONALLY RANKED RESEARCH UNIVERSITY + THE HEART OF A SMALL COLLEGE + THE SOUL OF GREAT MUSIC. Where it all comes together. SIU School of Music.

Audition Dates: Saturday, Feb. 7, and Monday, Feb. 16 Can’t make it then? Make an appointment.

Information is online at music.siu.edu.

Get “in” on this: Students from Arkansas, Indiana, Iowa, Kentucky, Missouri, Tennessee and Wisconsin are eligible for the in-state tuition rate!

Graduate assistantships available: $6,000 stipend + full tuition waiver.

Contact the instructor in your specialty at 618/536-8742.

Tennessee Music Education Assocation | 3 7

TMEA STATE BAND CHAIR Debbie Burton

PERFORMANCES

• Martin Luther King Jr. Academic Magnet High School Wind Ensemble • Tennessee Tech University Percussion Ensemble • Oliver Middle School Wind Ensemble • University of Tennessee at Martin Wind Ensemble • Tullahoma High School Symphonic Band – Tennessee Bandmasters’ Hall of Fame Performance

A

• Belmont University Wind Ensemble

S YOU READ this confer-

ence edition of the Tennessee Musician, I encourageyou to attend this year’s conference in Memphis.

Professional development is widely viewed as an essential means of improving teaching and learning. It is important for all educators to have regular opportunities to share ideas with colleagues and seek out new strategies, technologies, and resources. The TMEA Conference provides the content specific sessions and the informal sharing that every music educator needs to grow as a professional. I sincerely hope you will take advantage of this opportunity and attend this year’s conference.

The conference management team has put together an outstanding schedule of professional development sessions, concerts, and guest speakers. The variety of sessions will offer something for every band director. Session topics include: classroom management strategies, concert percussion pedagogy, the TEAM evaluation rubric, conducting techniques, training session on the TBA Marching Evaluation System, and educational psychology. In addition to the inspiring sessions being presented at conference, the following ensembles have been chosen to perform at this year’s conference. I have no doubt these performances will be exceptional.

• Hume-Fogg Academic Magnet High School Silver Jazz Band

While at the conference, be sure to attend the caucus meetings. This is your opportunity to take part in discussions about TMEA policies and procedures that affect all band programs across the state. The caucus meetings are scheduled on Thursday and Friday afternoons. With the addition of a TMEA Jazz Project Chair, the Thursday caucus meeting will be dedicated to issues and topics related to jazz education. The following is a message from the Jazz Project Chair, Richard Ripani.

MESSAGE FROM JAZZ PROJECT CHAIR, RICHARD RIPANI.

Greetings! This year at the TMEA Convention we will for the first time have an opportunity to meet as a caucus to discuss jazz education issues only. I am proud to have been asked to serve as TMEA’s Jazz Project Chair.

My goal is for the directors at the TMEA Jazz Caucus to not only discuss topics, but also to vote on and decide those things on which we can agree. I think there are a lot of such topics, and I want to hear from you about this. I will be compiling a list of issues that seem common to many of us so that we can have a head start at the caucus.

Here are examples of topics that have

3 8 | TENNESSEE MUSICIAN | 2015 | VOLUME 67, NO. 2

been mentioned to me already: • “Fix the jazz bass trombone audition. It makes no sense to have those students play both of the tenor trombone pieces and also the bass trombone piece. In addition, the tenor trombone pieces are in such a high register that few, if any, bass trombonists can play them.”

• “The jazz audition pieces need to have tempos adjusted. Some of them are really too fast for high school players (or anybody?), and tend to make for some very sloppy auditions.”

• “We should consider having the high school jazz students play something more difficult for their solo changes, not just Blues in F.” If you have topics that you would like to have addressed, please send them to me in an email and I will get them on the agenda!

I can be reached at richard.ripani@mnps.org.

STATE CONCERT FESTIVAL

The 2015 Concert Festival will be April 23 and 24 at Stewarts Creek High School in Smyrna, TN. Bands and Orchestras qualify by receiving superior ratings in both concert and sight-reading from either the 2014 or 2015 regional concert festivals.

The registration window will be open from March 2, 2015 to April 1, 2015. The registration form will be available on the TMEA website. All entries must be postmarked by April 1, 2015 and must include the $350 registration fee. The State Concert Festival will have a maximum of 32 ensembles and performance groups will be scheduled based on the order of postmarked responses. For more information about this event, see the Concert Festival Handbook on the TMEA website.

CLINICIANS FOR THE 2015 TMEA STATE CONCERT FESTIVAL

Dennis Fisher, Associate Director of Wind Studies, University of North Texas Richard Floyd, Director of Austin Symphonic Band, Texas Steven Moore, Associate Dean, University of Miami David Vandewalker, Assistant Director of Bands, Georgia State University

-Debbie Burton

• The future of the edTPA

TMEA STATE HIGHER EDUCATION CHAIR Eric Branscome

hall or preview the display boards that will be posted around the convention center.

Higher Education and Collegiate Sessions

Many wonderful sessions have been selected for both the collegiate and higher education divisions of TMEA. I hope you all plan to attend these sessions to support our colleagues and students. A special thanks goes to Dr. Lee at UTC for organizing the poster sessions that will be available at the conference.

A

Current Issues in TN Music Education

LL-COLLEGIATE CHOIR

As you may already know, the call for participation in this year’s Collegiate Honor Choir is posted on the TMEA Conference page.

As you may also know, last year’s Collegiate Orchestra did not have enough enrollment for the ensemble to make. For the sustainability of the collegiate ensembles, please encourage the choral directors and choral music educators on your campuses to send vocalists to the conference to participate in this year’s collegiate choir. In addition to singing in the ensemble, they will greatly benefit from the networking and professional development opportunities that are available at the conference.

This year’s clinician is Dr. A. Jan Taylor, Director of Choral Activities at Prairie View A&M University in Texas. She comes highly recommended for her work as a music educator and as a choral conductor, and we look forward to working with her in April.

Exhibition (Mini) Concerts

In addition to the collegiate ensembles, several wonderful chamber ensembles are scheduled to perform in the exhibition hall during the conference. For a performance schedule, stop by the exhibition

As you are all aware, there have been and continue to be innovations in education and music education across the state and beyond. In some cases reform trickles down from the ivory tower and into the schools.

Recently, however, reform has more directly impacted public school music programs and we at the collegiate level may struggle to stay abreast of current trends.

As collegiate music educators, the reality is that while we were public school music educators once upon a time, it is now easier for us to become disconnected from the world of music education as it exists today – the world for which we are preparing our students to enter as competent, capable music teachers.

As we prepare for the upcoming conference, I would like for us all to reserve Thursday at 5:30 for the Higher Education Meeting wherein we can discuss how our colleges and universities are dealing with public school and higher education innovations in music education. I would also encourage us all to come prepared with a short mental list of issues facing our programs, questions about what may be coming around the bend, and possible solutions for addressing current and forthcoming innovations.

Some suggestions include: • The TN Promise and university music programs

4 0 | TENNESSEE MUSICIAN | 2015 | VOLUME 67, NO. 2

• Preparing the 21st century music educator • The future of the Residency program • Continued implementation of the Student Growth Portfolio

Graduate Credit for Professional Development

Finally, in cooperation with TMEA, the Austin Peay State University Department of Music now offers graduate credit to practicing music educators for participation in the annual TMEA Conference and other professional development venues.

Graduate credits can be applied towards Continuing Education Units and towards a Master’s Degree in Music Education at APSU. For more information or to register for graduate professional development credits for the TMEA conference, visit http://www.apsu.edu/music/graduate-credit-professional-development.

If you have other ideas for increasing involvement in TMEA and the annual conference, or ways in which university music education programs might serve as advocates for music professional development, feel free to post comments on the higher education blog on the TMEA website.

-Eric Branscome

Instrumental Performance • Vocal Performance • Theory/Composition • Music Education

Music Performance Grants are awarded on the basis of audition to Music majors and non-Music majors.

Prospective Music majors will audition for admission to the Music Department on these dates:

November 8, 2014 February 21, 2015 March 28, 2015 To schedule an audition: www.utc.edu/music/auditions.php or call (423) 425-4601

SCAN WITH

BARCODE SCANNER

Bachelor of Music • Bachelor of Arts • Master of Music

Instrumental and Vocal Auditions

FOR MORE INFO

Visit the Music Department website by scanning the code.

www.UTC.edu/Music UTC is an equal employment opportunity/affirmative action/Title VI/Title IX/Section 504/ADA/ADEA institution. E041054-001-15

TMEA STATE EDUCATION TECHNOLOGY CHAIR Lisa Leopold

4. Provide a forum for discussion, research, and development for music educators to improve their understanding and use of technology.

G

REETINGS!

As we approach the time when everyone begins thinking about plans for the TMEA Conference, I want to inform you about some exciting things you will see in the area of music technology.

First, I am happy to announce a new partnership between TMEA and TI:ME (Technology Institute for Music Educators). The mission of TI:ME is to assist music educators in applying technology to improve teaching and learning in music. They were formed in 1995, and have four primary goals: 1. Develop standards for music technology in-service teacher training courses in public or private educational settings.

2. Develop course materials for music technology in several specific areas to include sequencing, notation, telecommunications, computer-assisted instruction, and other courses.

3. List and define skills required to obtain proficiency in the understanding and use of technology as it is applied to the teaching of music.

Beginning at the TMEA conference, we will form a Tennessee state chapter of TI:ME. Additionally, TI:ME will be hosting a regional micro-conference within the TMEA conference. What this means for TMEA members is access to the best music technology sessions available included in your regular TMEA registration fee. Please visit www.time.org for more information about the organization.

The second exciting thing I want to announce is a new format for the Tech Boutique that will be located in the exhibit hall. Romeo Music has generously agreed to be our sponsor again, so make sure to come by and support them! Since TI:ME will be down the hall presenting great sessions all week, we are going to leave the Tech Boutique open for roundtable style discussions, based around specific themes or needs in music technology. The topics I am considering so far are: 1. Recording your ensembles/music production 2. What we can do with 1:1 technology (every student with a device) 3. Music Technology as a class 4. SmartMusic 5. Useful apps for music education If you currently use any of these things in your class, I would love to have you as part of the discussion. We have a wealth of knowledge within our organization, and my goal is to bring people together with similar interests to talk and share ideas.

Please email me at lwleopold@gmail.com to let me know if you are interested in being part of a roundtable. Also, if you know

4 2 | TENNESSEE MUSICIAN | 2015 | VOLUME 67, NO. 2

of someone in your county or school system that uses technology in innovative and interesting ways, send me their contact info.

Music technology is a great avenue to offer music education to students outside of our traditional music ensembles. Elementary music teachers have always known what it means to use every tool we have to engage every student in the building. In my term as State Educational Technology Chair, I look forward to opening the discussion to everyone to see how we can use technology for the benefit of our students.

-Lisa Leopold

Experience the

Music Within

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2014-2015 Audition Dates*

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Saturday, January 24, 8:00 am (Honor Band) Friday, January 30, 3:00 pm (Honor Choir) Monday, February 16, All Day (Junior-Senior Day) * Additional dates may be arranged on an individual basis.

UT Martin Department of Music 731-881-7402 | MUSIC@UTM.EDU

WWW.UTM.EDU/MUSIC Accredited by the National Association of Schools of Music

Tennessee Music Education Assocation | 4 3

TMEA BOARD AND COUNCIL 2014-2016 TMEA OFFICERS 2014-2015 Executive Director: Ron Meers 129 Paschal Drive Murfreesboro, TN 37128 H 615-890-9308 C 615-542-5012 execdirector@tnmea.org President: Jeff Phillips Hendersonville High School 123 Cherokee Road Hendersonville, TN 37075 W 615-824-6162 x 31042 H 615-824-4977 C 615-957-9008 jpband@bellsouth.net President-Elect: Johnathan Vest University of Tennessee at Martin 16 Mt. Pelia Road / 108 Fine Arts Martin, TN 38238 W 731-881-7482 C 615-579-8700 johnathanvest@att.net Past President: Dian Eddleman University School of Jackson 232 McClellan Road Jackson, TN 38305 W 731-424-3418 H 731-424-3418 C 731-695-8270 deddleman@usjbruins.org BOARD OF DIRECTORS State General Music Chair: Charlene Cook East Ridge Elementary School 1014 John Ross Road Chattanooga, TN 37412 H 423-629-4123 C 423-304-1072 cookcl@epbfi.com State Choral Chair: Jan Johnson Signal Mountain Middle/High School 2650 Sam Powell Trail Signal Mountain, TN 37377 W 423-886-0880 x 336 C 423-326-8116 johnson _ j@hcde.org State Orchestra Chair: Ben Reagh Smyrna High School 100 Bulldog Drive Smyrna, TN 37167 W 615-893-5815 x 23720 C 615-519-8086 reaghb@rcschools.net State Band Chair: Debbie Burton John Overton High School 4820 Franklin Road Nashville, TN 37220 W 615-331-8586 C 615-887-7718 dlburton98@gmail.com

State Higher Education Chair: Eric Branscome Austin Peay State University Department of Music P.O. Box 4625 Clarksville, TN 37044 W 931-221-7811 H 931-542-2160 branscomee@apsu.edu State Collegiate NAfME Chair: Michael Mann Union University 1050 Union University Drive Jackson, TN 38305 W 731-661-5231 C 615-533-8859 mmann@uu.edu State Educational Technology Chair: Lisa Leopold Normal Park Museum Magnet 1219 West Mississippi Avenue Chattanooga, TN 37405 W 423-209-5914 C 719-232-7281 lwleopold@gmail.com

MTGMEA President: Ashley Copeland Watertown Middle School 515 West Main Street Watertown, TN 37184 W 615-237-4000 x 1536 C 615-809-6712 clarinet35@comcast.net

ETVA President Elect: Kention Dietch Farragut High School 11237 Kingston Pike Knoxville, TN 37934 W 865-966-9775 C 865-671-7137 kenton.deitch@knoxschools.org

MTVA President: Alexis Yatuzis-Derryberry Lascassas Elementary School 6300 Lascassas Pike Lascassas, Tennessee 37085 W 615-893-0758 C 615-519-1392 ayatuzisderryberry@mac.com

ETSBOA President: Lafe Cook Dobyns-Bennett High School 1800 Legion Drive Kingsport, TN 37664 W 423-378-8589 C 423-502-2279 lcook@k12k.com

MTVA President Elect: Shawn Frazier Middle Tennessee Christian School 100 Middle TN Christian School Road, Murfreesboro, TN 37129 W 615-893-0601 C 615-962-0499 presidentelect@mtva.org MTSBOA President: Craig Cornish Middle Tennessee State University PO Box 63, MTSU Murfreesboro, TN 37132 W 615-898-2486 C 615-962-0321 craig.cornish@mtsu.edu

TMEA COUNCIL WTVMEA President: Lalania Vaughn Tipton - Rosemark Academy 8696 Rosemark Road Millington, TN 38053 W 901 -829 -4221 x 4307 H 901-829-2292 C 901-489-1254 lvaughn@rebelmail.net WTVMEA President Elect: Roland Wilson Colonial Middle School 1370 Colonial Road Memphis, TN 38128 W 901-416-5239 C 901-619-6714 wilsonrr@scsk12.org WTSBOA President: Chris Piecuch Overton High School 1770 Lanier Lane Memphis, TN 38117 W 901-416-2136 H 901-683-5042 C 901-831-4854 chris.piecuch@yahoo.com WTSBOA President –Elect: Stephen Price South Gibson County High School 1000 Hornet Drive, PO Box 249 Medina, TN 38355 W 731-783-0999 H 731-499-3888 prices@gcssd.org

4 4 | TENNESSEE MUSICIAN | 2015 | VOLUME 67, NO. 2

MTSBOA President –Elect: David Aydelott Franklin High School 810 Hillsboro Road Franklin, TN 37064 W 615-472-4465 H 615-220-6964 C 615-337-2579 davida@wcs.edu ETGMEA President: Teresa L. Ryder Farragut Primary School 509 Campbell Station Road Knoxville, TN 37934 W 865-966-5848 H 865-692-8837 C 865-310-5208 teresa.ryder@knoxschools.org ETGMEA President-Elect: Margaret Moore Lanier & Montvale Elementary Schools P.O. Box 5082 Marysville, TN 37802 C 865-216-5482 mamcmoore57@aol.com ETVA President: Jason Whitson Volunteer High School 1050 Volunteer Street Church Hill, TN 37642 W 423-357-3641 H 423-571-6596 C 423-571-6596 jason.whitson@hck12.net

ETSBOA President –Elect: Gary Wilkes Chattanooga School for the Arts and Sciences 865 East Third Street Chattanooga, TN 37403 W 423-209-5837 C 423-718-4874 wilkes_ gary@hcde.org CONFERENCE MANAGEMENT TEAM Conference Chair: Brad Turner Arlington Community Schools 5475 Airline Rd. Arlington, TN 38002 H 901-867-1870 C 901-438-8020 brad.turner@acsk12.org Conference Exhibits Chair: Jo Ann Hood 829 Rocky Mountain Parkway Antioch, TN 37013 H 615-361-1579 C 615-957-1266 jhood10105@aol.com Conference Registration Chair: Mark Garey Freedom Middle School 750 New Highway 96 West Franklin, TN 37064 W 615-472-3544 H 615-790-8756 C 615-347-0757 mgarey86@comcast.net Conference Performance Group Chair: Randal Box Brentwood High School 5304 Murray Lane Brentwood, TN 37027 W 615-472-4236 H 615-395-7018 C 615 567-1081 ranbox@comcast.net

All-State Instrumental General Chair: Martin D. McFarlane Wilson Central High School 419 Wildcat Way Lebanon, TN 37090 W 615-453-4600 x 3077 H 931-247-1361 C 931-247-1361 mcfarlanem@wcschools.com All-State Choral General Chair: Brian Russell Stewarts Creek High School 301 Red Hawk Blvd Smyrna, TN 37167 W 615-904-6771 C 615-945-1825 russellb@rcschools.net ENSEMBLE CHAIRS Treble Honor Choir Chair: Tiffany DePriest Madison Creek Elementary 1040 Madison Creek Road Goodlettsville, TN 37072 W 615-859-4991 x 212 C 615-308-5364 bowhead0313@gmail.com SATB Ensemble Chair: Lia Holland Robertson County Schools 3276 New Chapel Road Springfield, TN 37172 W 615-584-5782 liahol@comcast.net Women’s Chorale Ensemble Chair: Amanda Ragan Oak Ridge High School 1450 Oak Ridge Turnpike Oak Ridge, TN 37830 W 865-425-9644 aragan@ortn.edu Men’s Chorus Ensemble Chair: John Kimbrough Jackson Christian School 832 Country Club Lane Jackson, TN 38305 W 731-668-8055 C 931-265-8848 johnny.kimbrough@jcseagles.org 9th-10th Grade String Orchestra Chair: Gary Wilkes Chattanooga School for the Arts and Sciences 865 East Third Street Chattanooga, TN 37403 C 423-718-4874 gwilkes428@gmail.com 11th-12th Grade Symphonic Orchestra Chair: Sandy Morris Chattanooga Youth Philharmonic Orchestra 701 Broad Street Chattanooga, TN 37402 C 423-596-2703 sandyronmorris@gmail.com

9th-10th Grade Concert Band Chair: J.R. Baker White House Heritage High School 7744 Highway 76 White House, TN 37188 W 615-478-7181 john.baker@rcstn.net 11th-12th Grade Concert Band: Will Sugg Martin Luther King Jr. Academic Magnet School 613 17th Avenue North Nashville, TN 37203 W 615-329-8400 C 615-483-3961 william.sugg@mnps.org All State Jazz Band Chair: Bob Chandler Franklin Road Academy 4700 Franklin Road Nashville, TN 37220 W 615-369-4492 H 615-948-1490 C 615-948-1490 chandler@franklinroadacademy.com PROJECT CHAIRS Tennessee Musician Editor-in-Chief: Michael Chester Stewarts Creek High School 301 Red Hawk Parkway Smyrna, TN 37167 W 615-904-6771 C 615-308-6098 editor@tnmea.org Tennessee Musician Advertising Manager: Catherine Wilson 501 Barton Shore Court Lebanon, TN 37087 C 402-984-3394 admanager@tnmea.org

Webmaster: Lisa Leopold Normal Park Museum Magnet 1219 West Mississippi Avenue Chattanooga, TN 37405 W 423-209-5914 Lisa Leopoldv continued C 719-232-7281 lwleopold@gmail.com

Research Chair: William Lee University of Tennessee at Chattanooga 615 McCallie Avenue Chattanooga, TN 37403 W 423-425-4601 H 423-425-5269 william.lee@utc.edu

Tri-M Chair: Todd Shipley Martin Luther King Jr. Academic Magnet School 613 17th Avenue North Nashville, TN 37203 W 615-329-8400 todd.shipley@mnps.org

Membership Chair: Cynthia Wieland Bon Lin Middle School 3862 North Germantown Road Bartlett, TN 38133 W 901-347-1520 wielandcf@scsk12.org

MIOSM Chair: Tiffany DePriest Madison Creek Elementary 1040 Madison Creek Road Goodlettsville, TN 37072 W 615-859-4991 x 212 C 615-308-5364 bowhead0313@gmail.com

Retired Teachers Chair: Bobby Jean Frost 5816 Robert E. Lee Drive Nashville, TN 37215 H 615-665 0470 C 615-973-1537 Music Merchants Industry Chair: Rick DeJonge KHS America 12020 Eastgate Boulevard Mt. Juliet, TN 37122 W 615-773-9922 rdejonge@jupitermusic.com

National Association for Music Education Announces the Creation of

Jazz Education Policy Chair: Richard Ripani Hume-Fogg Academic Magnet High School 700 Broadway Nashville, TN 37203 W (615)291-6300 rripani@yahoo.com Advocacy and Government Relations Chair: Joel Denton Ooltewah High School 6123 Mountain View Road Ooltewah, TN 37363 W 423-238-9586 denton_joel@hcde.org Society for Music Teacher Education Chair: Jamila McWhirter MTSU School of Music MTSU Box 47 Murfreesboro, TN 37132 W 615-898-5922 jamila.mcwhirter@mtsu.edu

Touching the Lives of 20 Million Children

Give A Note Foundation was established by the leaders of the National Association for Music Education in order to expand and increase music education opportunities for all children and help them develop skills needed for success in the 21st century.

To make a donation, please visit www.giveanote.org

Tennessee Music Education Assocation | 4 5

• Intensive professional training with a superb liberal arts education—in Music City U.S.A. • Internationally recognized faculty and uniquely personal student/teacher ratio in an undergraduate-only music program • State-of-the-art classrooms, studios, and performance halls—a new dimension in the learning experience • Degree programs offered in instrumental and vocal performance, composition, and musical arts—and five-year Bachelor of Music/Master of Education and Bachelor of Music/MBA programs • Ranked as one of the nation’s top twenty universities

Vanderbilt Symphonic Choir • Tucker Biddlecombe, Director

AUDITION DATES 2014/15 December 6, 2014 • January 23–24, 2015 February 6–7 • February 20–21, 2015 Blair School of Music Vanderbilt University Nashville, Tennessee blair.vanderbilt.edu Dwayne Sagen Assistant Dean for Admissions Dwayne.P.Sagen@vanderbilt.edu (615) 322-6181

TENNESSEE MUSICIAN ADVERTISER INDEX | VOLUME 67, No. 2 ADVERTISER

A very special thank you to all of our advertisers who support the work of music educators at all levels in the State of Tennessee.

Appalachian State University

37

Austin Peay State University

7

Belmont University

8

Carson Newman College

19

Cumberland University

21

D’Addario (Ad 1 of 2)

9

D’Addario (Ad 2 of 2)

39

East Tennessee State University

29

Lee University

Inside Front Cover

Maryville College

33

Middle Tennessee State University

5

NAMM 1 National Guild of Piano Teachers

32

QuaverMusic.Com

Back Cover

Slate Group

49

Smoky Mountain Music Festival

46

Southern Illinois University

37

Tennessee State University

35

Union University

11

University of Memphis

26

University of Missouri

43

University of Tennessee at Chattanooga

41

University of Tennessee at Knoxville Bands

3

University of Tennessee at Knoxville

31

University of Tennessee at Martin

43

Vanderbilt University

46

Yamaha 22 Tennessee Music Education Assocation | 47

TMEA BACK THEN

I

N THIS ISSUE , mem-

bership in TMEA nears record numbers among the 11 southern states. The music department of Carson-Newman College (now Carson Newman University) hosted a band festival on April 20, 1951 with Edwin Franko Goldman, serving as guest conductor. One-day music conferences were requested by music teachers to the Tennessee State Department of Education. TMEA revises the state constitution allowing six division instrumental and vocal music associations more responsibility for planning music education events and festival projects.

TMEA voted by a huge majority to recommend a basic core and college endorsement plan for special certification of music teachers. The cover featured the Dobyns-Bennett High School Vocal Ensemble, under the direction of Miss Marie Hutchinson.

TENNESSEE MUSICIAN March-April 1951 – Volume III, No. 4 (Vernon H. Taylor, Editor-in-Chief)

4 8 | TENNESSEE MUSICIAN | 2015 | VOLUME 67, NO. 2

Slate Group is a proud print partner of Tennessee Musician and other state Music Education Associations.

CONTACT IAN SPECTOR TODAY!

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Tennessee Music Education Assocation | 4 9

Tennessee Music Education Association 129 Paschal Drive Murfreesboro, Tennessee 37128

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