April 2016 Southwestern Musician

APRIL 2016

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APRIL2016 8 4

|

I S S U E

contents

8

features

V O L U M E

columns

Distinguished Administrator Spotlight . . . . . . . . . . . 20 TMEA continues to provide members the opportunity to recognize outstanding school administrators for their support. Read about eight administrators who have received this distinction.

So Much to Learn. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 With over 300 clinics in just four days, there’s a lot to learn. These clinic takeaways will remind you of something valuable you heard and ZLOO OHDG \RX WR JDLQ PRUH IURP WKH FOLQLF KDQGRXWV RU DXGLR ÀOHV

5HÁHFWLRQV . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60 All-State students share something they learned from their conductor WKDW ZLOO FRQWLQXH WR LQÁXHQFH WKHP IRU WKH UHVW RI WKHLU OLYHV

Retention Is Recruiting . . . . . . . . . . . . . . . . . . . . . . . . 63

18

When you retain good students in your program, effective recruiting is a natural extension. Improve your recruiting and retention with these three components.

BY ANN M. GUESS

President’s Notes ............................................. 9

by Dinah Menger

Executive Director’s Notes.................14 Band Notes ............................................................30

by Joe Muñoz

Orchestra Notes ..............................................45

by Penny Meitz

Vocal Notes ...........................................................53

by Robert Horton

Elementary Notes .......................................... 71

by Juli Salzman

updates

by Robert Floyd Attend Your Spring Region Meeting ........................................................ 2 After the Convention (Handouts, Audio Files, CPE, and More) ............. 4 Welcome the 2016–2017 TMEA Executive Board ................................ 7 Congratulations Four-Year All-State Musicians ...................................12 TMEA Clinic/Convention Images ............................................. 18, 50, 76

College Notes .....................................................78

by Si Millican

Congratulations Scholarship Winners ..................................................26 Submit a Proposal for the 2017 TMEA Clinic/Convention ..................41 Nominate Your Students for the Texas Music Scholar Award ............52

On the cover: Rahel Lulseged, a junior, accompanies the Booker T. Washington HSPVA Varsity Treble Choir at the 2016 TMEA Clinic/Convention.

Photo by Karen Cross.

Thank You for Attending ........................................................................68 Membership, Convention Attendance, and Meeting Minutes ............85 Southwestern Musician | April 2016

1

Editor-in-Chief: Robert Floyd

Attend Your Spring Region Meeting

UĂ R\G@tmea.org 512-452-0710, ext. 101 Fax: 512-451-9213

Managing Editor: Karen Cross

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

Region Date

Time

Location

TMEA Executive Board

1

May 14

10:00 a.m. meeting, Amarillo HS 9:30 a.m. food

President: Dinah Menger

2

May 21

10:00 a.m.

Guyer HS

d.menger@sbcglobal.net 1305 Westcrest Drive, Arlington, 76013 817-891-1095 – Fort Worth ISD

President-Elect: Andy Sealy sealya@lisd.net 4207 Plano Parkway, Carrollton, 75010 469-948-3011 – Hebron HS

Past-President: Keith Dye keith.dye@ttu.edu 6607 Norwood Avenue, Lubbock, 79413 806-742-2270 x 231 – Texas Tech University

Band Vice-President: Joe Muùoz munozj@pearlandisd.org 3775 South Main Street, Pearland, 77581 281-997-3219 – Pearland HS

Orchestra Vice-President: Penny Meitz pjmeitz@mac.com 5407 Coral Gables Drive, Houston, 77069 281-468-2593 – St. John’s School

Vocal Vice-President: Robert Horton rhorton@conroeisd.net 3205 West Davis Street, Conroe, 77304-2039 936-709-1200 – The Woodlands HS

Elementary Vice-President: Juli Salzman julis@angletonisd.net 625 Milton Street, Angleton, 77515 (281) 660-4776 – Northside Elementary

3

May 14

10:00 a.m.

Lake Highlands HS

4

May 13

5:00 p.m.

Mt. Pleasant HS

5

May 1

2:00 p.m.

Martin HS

6

April 23

10:00 a.m.

Lee HS

7

May 14

10:00 a.m.

Graham HS

8

May 7

10:00 a.m. meeting, Midway HS 9:30 a.m. food

9

May 7

9:00 a.m.

Klein Collins HS

10

May 2

6:30 p.m.

Lamar Univ

11

April 30

12:00 p.m.

Southwest HS

12

May 1

2:30 p.m.

Madison HS

13

May 1

2:00 p.m.

George Ranch HS

14

May 14

10:00 a.m. meeting, Del Mar College 9:30 a.m. coffee

15

April 24

2:00 p.m.

Nikki Rowe HS Auditorium

16

May 2

5:00 p.m.

Frenship HS Alvin JH

17

May 14

9:30 a.m

18

April 23

10:00 a.m. meeting, Anderson HS 9:30 a.m. food

19

May 7

10:00 a.m.

Deer Park HS, North Campus

20

May 14

9:00 a.m.

Duncanville HS

21

May 7

10:00 a.m.

UT/Tyler Fine Arts Complex

22

May 21

11:00 a.m. meeting, UTEP 10:00 a.m. UIL

23

May 14

9:00 a.m. meeting, 8:00 a.m., food

College Vice-President: Si Millican si.millican@utsa.edu One UTSA Circle, San Antonio, 78249 210-458-5334 – UT/San Antonio

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

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

Alief Taylor HS

24

May 21

10:00 a.m.

Plano West SHS

25

May 21

10:00 a.m.

McKinney North HS

26

April 26

6:00 p.m.

Stony Point HS

27

May 14

9:00 a.m.

Cypress Creek HS

28

May 14

10:00 a.m.

Harlingen HS

29

May 21

12:00 p.m.

Stevens HS

30

April 23

10:00 a.m.

Chisholm Trail HS

31

May 14

10:00 a.m.

Grapevine HS

32

April 26

6:00 p.m.

Vista Ridge HS

33

May 7

9:00 a.m.

Dekaney HS

Southwestern Musician (ISSN 0162-380X) (USPS 508-340) is published monthly except March, June, and July by Texas Music Educators Association, 7900 Centre Park Drive, Austin, TX 78754.

6XEVFULSWLRQ UDWHV 2QH <HDU ² 6LQJOH FRSLHV 3HULRGLFDO SRVWDJH SDLG DW $XVWLQ 7; DQG DGGLWLRQDO PDLOLQJ RIĂ&#x20AC;FHV 32670$67(5 6HQG DGGUHVV FKDQJHV WR 6RXWKZHVWHUQ 0XVLFLDQ 3 2 %R[ Austin, TX 78714-0465. Southwestern Musician was founded in 1915 by A.L. Harper. Renamed in 1934 and published by Dr. Clyde Jay Garrett. Published 1941â&#x20AC;&#x201C;47 by Dr. Stella Owsley. Incorporated in 1948 as National by Harlan-Bell Publishers, Inc. Published 1947â&#x20AC;&#x201C;54 by Dr. H. Grady Harlan. Purchased in 1954 by D.O. Wiley. Texas Music Educator was founded in 1936 by Richard J. Dunn and given to the Texas Music (GXFDWRUV $VVRFLDWLRQ ZKRVH RIĂ&#x20AC;FLDO SXEOLFDWLRQ LW KDV EHHQ VLQFH ,Q WKH WZR PDJD]LQHV ZHUH PHUJHG XVLQJ WKH QDPH 6RXWKZHVWHUQ 0XVLFLDQ FRPELQHG ZLWK WKH 7H[DV 0XVLF (GXFDWRU XQGHU WKH editorship of D.O. Wiley, who continued to serve as editor until his retirement in 1963. At that time ownership of both magazines was assumed by TMEA. In August 2004 the TMEA Executive Board changed the name of the publication to Southwestern Musician.

2

Southwestern Musician | April 2016

After the Convention Clinic Handouts To view and save the clinic handouts that were provided, go to www.tmea.org/convention and log in to the personal schedule page. An icon will display next to the clinic name if the clinician provided a handout for download.

Clinic Audio Files Go to the personal schedule and log in. If you were a registered DWWHQGHH ZKR SXUFKDVHG DFFHVV WR DXGLR Ă&#x20AC;OHV \RX ZLOO VHH DQ LFRQ QH[W WR WKH FOLQLF QDPH WR GRZQORDG WKDW DXGLR Ă&#x20AC;OH <RX FDQ VWLOO SXUFKDVH DFFHVV WR WKHVH DXGLR Ă&#x20AC;OHV LI \RX attended the convention. Go to www.tmea.org/convention to purchase access for $10. Refresh your memory of clinics you attended and learn from presentations you could not attend.

CPE RECORDS CPE credit is available only to TMEA active members and out-of-state members who register and attend the convention. Attendees with family or visitor badges and retired or student members do not have access to create CPE records. Go to www.tmea.org/cpe.

1. Create or update your online personal schedule.

2. Verify the clinics you attended to completion.

3. Save your CPE selections.

4. Print your CPE record and submit it to your administrator.

Keep a copy for your records.

Performance Recordings $W ZZZ WPHD RUJ FRQYHQWLRQ \RX ZLOO Ă&#x20AC;QG D OLQN WR WKH 0DUN Custom Recording online store for recordings made during our convention.

College of Fine Arts & Communication Mary Morgan Moore Department of Music

4

Southwestern Musician | April 2016

SUMMER 2016 MUSIC CAMPS BAND CAMPS High School: June 12-17 Middle School: June 19-24 Drum Major: June 19-24

CHOIR CAMP July 11-14

PIANO CAMP July 17-22

STRINGS CAMP July 24-29

For costs and registration information, visit

www.music.sfasu.edu/outreach

Dinah Menger President

Penny Meitz Orchestra Vice-President

Robert Horton Vocal Vice-President

Andy Sealy President-Elect Keith Dye Immediate Past-President

2016–2017 TMEA Executive Board

Joe Muñoz Band Vice-President

Juli Salzman Elementary Vice-President

Si Millican College Vice-President

Learn more about the Executive Board members at www.tmea.org/about/board-staff/board.

RBC MUSIC COMPANY INCORPORATED

Southwestern Musician | April 2016

7

CHOIR CAMP at HARDIN-SIMMONS SUNDAY, JUNE 19 THROUGH THURSDAY, JUNE 23

Ahead of the Curve •• Get Learn all the 2016 Music Your Technique • Advance Language Diction •• Intensive End-of-Week Concert • Fun, Food, Friends

TUITION AND FEES Non-refundable Registration Fee (applies toward tuition) — $50 Dorm Residents, Including Meals — $325 Day Campers, Including Meals — $275 Late Registration (after June 8) — $350 $100 discount for past All-State choir members

DIRECTOR’’S S TRA AC CK Earn CPE credits while your students get the jump on their All-State music. Enjoy quality clinicians; observe All-State rehearsals; attend sessions that include Reading, Technology, AllState diction, and more!

COST (including Room and Meals) FREE when bringing at least 10 campers; $200 when bringing at least 5 campers; $325 with less than 5 campers

High School Musicians Grades 9-12

2016

ALL-STATE

SMALL SCHOOL & LARGE SCHOOL TRACKS CONDUCTORS Dr. Clell Wright

HSU Choral Activities Director

Dr. Dee Romines

HSU Associate Professor of Choral Music Education

CLINICIANS Tara Sikon

Carrolton Creekview High School

Natalie Walker

Highland Park High School

Aaron Hawley

Odessa Permian High School

Joshua Brown

Coppell High School

HSU VOICE FACULTY Dr. Lynnette Chambers Dr. Jaynne Middleton Dr. Chris Hollingsworth Dr. Melody Rich

Register online:

www.choircamp.hsutx.edu

or call 325.670.1415 For more information, contact Dr. Clell Wright School of Music and Fine Arts Hardin-Simmons University, Box 16230, Abilene, TX 79698

B Y

D I N A H

M E N G E R

PRESIDENT’S NOTES

The life cycle of the cicada

A

April 30—Texas Music Scholar nomination materials postmark deadline.

May—TMEA memberships for 2016–2017 can be renewed online.

April/May—Attend your spring Region meeting.

April 1–June 1—Submit proposals for the 2017 TMEA Clinic/Convention.

June 30—All 2015–2016 TMEA memberships expire.

February 8–11, 2017—TMEA Clinic/ Convention in San Antonio.

s a true Texan, the incessant song of the cicada reminds me of my roots and tells me I’m home.

As the ever-present soundtrack to summer, these beautiful bugs have held a fascination for me since I was a little girl. I would wander around our yard collecting the exuviae (nymph exoskeletons). Those leftbehind shapes of the little creatures that now had the ability to fly and made their presence known by singing me to sleep simultaneously gave me a sense of comfort and renewal. Like I did as a little girl, I still collect these shells every spring, and when I do, my creative spirit is always rejuvenated. Each season, the age-old cycle of metamorphosis, symbolized by these insistent, loud little creatures becomes a tangible manifestation of what we do as educators. I find that the 17-year life cycle of the cicada serves as an excellent metaphor of our time as parents and teachers. By implementing secure boundaries in which our children feel safe to explore their world, we hope that they blossom into kind, caring, and artistic human beings, singing their life’s song loudly and proudly.

The exoskeleton they leave behind are the memories we hold dear of their time spent with us.

As we embrace change (happily or begrudgingly) within our TMEA family, my hope is that you find ways to use your gifts in even greater ways and with an even stronger voice. The TMEA vision, philosophy, and mission will stand strong and steady as opportunities unfold before us to further our high standard of excellence and artistry that continue to serve as a template of music education and fine arts for the nation.

The only thing that is constant is change.

—Heraclitus Southwestern Musician | April 2016

9

New TMEA Executive Board I am pleased to welcome new Executive Board members to our family of music educators and visionaries (see page 7).

New Band Vice-President, Joe Muñoz, and new College Vice-President, Si Millican, began their terms immediately following our convention and they proved they were charged and ready to carry the torch onward. We will heartily miss outgoing board members, Michele Henry and Janwin Overstreet-Goode.

New Convention Center Bravo to all convention goers for your patience and spirit of adventure as you entered the newly expanded Henry B. Gonzalez Convention Center! I witnessed only great attitudes and patience from all our members. The grand lobby was breathtaking, and figuring out how to get to rooms numbering above 218 created quite a buzz! I, for one, was grateful for the benches along the “Trail of Tears,” as Andy Sealy labeled the long hallway

from the old to the new section. I could sit, pretend to be in serious conversation on my phone, and rest my feet!

A New Start Region realignments are never easy; they pose challenges and great opportunities. With realignment comes an excellent chance to revisit and remake your reputation as a colleague and fellow music educator. Like moving to a new city where no one knows you, the opportunity to foster new friendships and professional relationships, to shed past mistakes, to rebuild and redefine your image, to mentally clean house, is quite stimulating and refreshing. In working with teachers in your new Regions, consider changing words like “we always” to “this has worked for” and “we never” to “perhaps we might try.” I look forward to hearing examples of creative problem solving and how each new Region showcases their students and colleagues.

Changing Demographics A subject of particular interest to me is the ever-changing demographics across our state and, specifically, how music educators can maintain excellent fine arts programs in all schools, in all settings, and for all children. In my career, I have experienced varied teaching settings. I spent 18 years as a director at one high school (watching slow but steady changes take place). I then moved to a collegiate setting, and that was followed by my current job as an administrator in a large inner-city district that includes 19 high schools, 29 middle schools, 83 elementary schools, and 11 alternative schools. Many longtime teachers can no longer boast about teaching generations of the same families or expecting strong parent support, or leading students who know what an AllStater is or what Sweepstakes means, or who have a melodic arsenal of locked-in intervals learned from nursery songs and time spent around music (what we consider music) of any kind.

Across the state, many of us become voiceless—with administrators who don’t understand how we contribute to growing successful, well-rounded students.

They don’t understand how important time in music class is to academic achievement. Instead, they pull students out of our classes for academic practice and reduce financial support for the fine arts

10 Southwestern Musician | April 2016

ttuboc.com 806. 742. 2225 boc@ttu.edu

ttuboc TEXAS TECH UNIVERSITY BAND & ORCHESTRA CAMP

July 10-16, 2016

Congratulations Four-Year All-State Musicians The following musicians qualified for membership in Texas All-State ensembles four consecutive years. Our congratulations go to these incredible students, their families, and teachers for this most impressive accomplishment!

TMEA All-State Bands

Eduardo Aquino, Veterans Memorial HS, Baritone Saxophone Daniel Bao, Dawson HS, B-flat Clarinet Chris Bryant, Chisholm Trail HS, Trumpet Jinjie Ling, Bellaire HS, B-flat Clarinet Noah Roper, Aledo HS, Bass Trombone Soyeon Shin, Hebron HS, B-flat Clarinet

TMEA All-State Orchestras

Ayman Abouleish, Clear Lake HS, Cornet/Trumpet Lizbeth Barrera, Rio Grande City HS, F Horn Hannah Burnett, Midway HS, Viola Catherine Cai, Memorial HS, Violin Naomi Chao, Clear Lake HS, Violin Shung-June Danjul, Plano West HS, Violin Steven Gu, Hastings HS, Violin Brent He, Plano East HS, String Bass Sarah Jiang, Liberty HS, Violin Andrew Lavelle, HSPVA, Viola Nathan Le, Liberty HS, Viola Charlie Lin, Liberty HS, Violin Cher Liu, Clements HS, Violin programs that give each student a place to belong and a reason to come to school. As the challenge continues, it is imperative that our rehearsal halls and music rooms are filled with engaged and excited young students.

Are we staying current in understanding our students’ needs? Are we using the most effective materials and teaching strategies to keep them coming back (even after they have met their one fine arts credit)? Are we hanging on to what worked for us 20 years ago? Are our numbers dwindling? Is the caliber of student changing? I challenge you to take a hard look at the current norm in student behavior and attitude, student population, student musicianship, student achievement, parent presence, family situations, and financial status.

I believe our youth are in crisis. Yes— there are those incredible students we have all been privileged to teach, but are these fewer and farther between? Are we finding and keeping the students who need us the most—the students we can help by supporting and holding them to a standard they don’t yet believe in? These 12 Southwestern Musician | April 2016

Troy Stephenson, Dulles HS, Viola Selina Vickery, Friendswood HS, B-flat Clarinet Becky Wang, Clements HS, Violin Rebecca Wang, Klein HS, Violin Hanson Yong, Plano HS, String Bass Jeffrey Zhu, Tompkins HS, String Bass

TMEA All-State Choirs

Manna Dellota, Veterans Memorial HS, Soprano Angel Gomez, Memorial HS, Tenor Leann Indolos, North Crowley HS, Soprano Hayley Leavell, Plano West HS, Alto Matthew Newhouse, Conroe HS, Tenor Angelo Silva, Dawson HS, Tenor Vinay Thomas, Plano East HS, Bass Jeremiah Tyson, Washington HSPVA, Tenor

ATSSB All-State Bands

Pablo Garcia, Wimberley HS, Trumpet Danae Race, Levelland HS, Flute Kyle Smith, St. John XXIII College Preparatory, F Horn Mary Starnes, St. Joseph Catholic School, B-flat Clarinet

are questions that warrant our immediate attention and action. I encourage you to submit your observations and queries, stories of your successes and teaching strategies, and your frustrations to me at Dinah.Menger@fwisd.org. We are building a committee of educators and ideaweavers to focus on this growing concern about our Texas students. We want your participation in this process.

New Political Climate The current national and state candidates, and the feelings they stir, represent another area of change for us. Our knowledge of how education and fine arts are affected is imperative. At a local level, we must also learn to navigate the politics in our school. We must work to create individual relationships with the administrators and counselors on each campus. I have been happily surprised at the reactions and outcomes from schedule-makers when I explain the why of certain scheduling parameters for the pedagogical needs for students. With understanding and a constant and proactive presence on each campus and for each discipline, we can garner

support and successful class structure for our fine arts students. It takes constant conversation and no assumptions! Even if you do not relish politics, I urge you to stay politically aware of how changes will affect your department and your profession. You may discover that you enjoy the fray!

New Possibilities I wish each of you the very best success in all things musical. This includes the memories you are creating and the goals you help each child achieve. Like the life-cycle of the cicada, many of our students—our seniors especially—will soon be shedding their exoskeleton to blossom into hearty, loud, confident young adults.

How lovely to have been a part of their growth.

A Cicada Shell A cicada shell; it sang itself utterly away.

—Matsuo Basho, translated by R. H. Blyth

EXECUTIVE DIRECTOR’S NOTES

B Y

R O B E R T

F L O Y D

Realignment Charges

A

t the new Region meetings during the convention each Region was asked to elect, as necessary, an interim set of Region officers to guide the transition process into the 2016–2017 Region alignment. Regions relatively untouched by the new alignment will continue to function with the current officers while, in some cases, others were charged with electing an entirely new Region steering committee.

So what is the responsibility of these Region officers between now and your spring Region meeting? The last day of February, members of the Region steering committees were sent a list of charges to help make the transition to the new alignment as smooth and seamless as possible. Listed below are some of the issues that this committee is already beginning to address: Set Region contest dates and sites for both UIL and TMEA activities for 2016–2017: Regions should immediately begin this process given the challenges in securing facilities and dates for these events. This planning should be in partnership with your UIL Region Secretary.

Establish Region audition procedures and policies: If your Region is experiencing minimal change, your current policies may suffice or require only minor revision. New Regions may want to review current policy models that are

With new alignment comes the possibility to rethink procedure as well as new ways to serve both teachers and students in your Region.

14 Southwestern Musician | April 2016

April 30—Texas Music Scholar nomination materials postmark deadline.

May—TMEA memberships for 2016–2017 can be renewed online.

April/May—Attend your spring Region meeting.

April 1–June 1—Submit proposals for the 2017 TMEA Clinic/Convention.

June 30—All 2015–2016 TMEA memberships expire.

February 8–11, 2017—TMEA Clinic/ Convention in San Antonio.

ADMISSIONS

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Bachelor’s and Master’s degrees in Music with emphasis in Performance and Music Education tamuc.edu/music 903-886-5303

TEXAS LUTHERAN UNIVERSITY

SUMMER MUSIC ACADEMY for Band & Orchestra

JUNE 26–JULY 1, 2016

Apply now:

www.tlu.edu/sma

available to them on the TMEA website.

Those interim committee members have already been given access to these documents. As a TMEA member you will have the opportunity to vote on these new policies at your spring Region meeting.

Division of Region monies and equipment: This charge is an important one and requires working with neighboring Regions to come up with a formula to divide current Region reserves. Due to the complexity of realignment, it is impossible to write a formula at the state level that would address every situation.

In past realignments, Region officers have done an amazing job of sharing funds.

The Executive Board encourages such cooperation and creative brainstorming to complete this exercise in a fair and equitable manner. TMEA staff will assist in any way possible, such as providing audition data as a basis for calculation.

Startup funds: The Executive Board is committed to providing necessary funds to assist Regions in getting started without having to set extraordinarily high audition entry fees. Contributions will be based on need. Regions will apply for such assistance by submitting a request through the TMEA office.

Certainly a spirit of professionalism and cooperation is necessary for this transition to be successful. As an active member of TMEA, volunteer to assist in any way possible to be a part of this exercise.

A list of your new Region committee is posted on the TMEA website. If you are unaware of what Region your district will be in for 2016–2017, you may search for that information on the TMEA website as well.

Region alignment poses new sets of challenges yet new opportunities. With new alignment comes the possibility to rethink procedure and explore new ways to serve both teachers and students in your Region. The new structure also provides opportunities for leaders to emerge who have never gotten the chance to serve in the previous Region structure.

Finally, as the decision-making process progresses, please be sensitive to serving and meeting the needs of all school districts in your Region, not just the one that might dominate in terms of size and participation and may control voting on policy issues. The success of this new plan depends on it.

Convention Highlights Not to Miss This issue of SOUTHWESTERN MUSICIAN is full of memories and recollections of our amazing February convention. In particular, I encourage you to read through the comments from our presenters whom we asked to share brief statements on the core of their workshop message (page 37).

You may then want to listen to the audio of a session that piqued your interest that you were unable to attend. You may still purchase the audio files online for $10 if you were in attendance at the convention.

In addition, if you truly want to be inspired and rejuvenated about why we do what we do as music educators, read the student comments regarding their takeaway from their All-State experience and how that experience touched their lives (page 60). It is amazing how many students stated that performing with their All-State ensemble and spending time with a world-class conductor has inspired them to major in music in college. And as a sidebar, despite colleges expressing concern that students coming out of high school do not know how to write, these student musicians do know how to communicate and share their thoughts well.

Distinguished Administrator Recognition President Dinah Menger, in her column, speaks to the challenges yet importance of navigating the political climate on each of our campuses and in our school districts. She also addresses the frustrations we feel when administrators do not understand how we as arts educators contribute to successful, well-rounded students. Our focus and discussion is quite often on the administrative problems we encounter and how to solve them.

I am encouraged, however, by the increasing number of anecdotal stories I hear about how an administrator demonstrated support for a particular campus or district fine arts program. Such administrators are prime candidates to be nominated for the TMEA Distinguished Administrator Award. This program has proved to be a highly successful member service that allows you to recognize a supportive administrator in your district. The number of recipients is not limited, and all candidates successfully nominated with valid rationale receive the award.

Go to www.tmea.org/adminaward for further information and read about recent recipients on page 20 of this issue.

Attend Your Spring Region Meeting Officer Elections • Contest Dates Policy Adoption • Networking Why Attend?

The success of the organization depends on participation at the Region level by representatives from every division. Ensure your voice is heard and that you are current on TMEA business by attending this meeting.

What Is My Region?

Go to www.tmea.org/findmyregion. Search on your school district to find its Region and Area assignment.

Who Are My Region Officers?

Go to www.tmea.org/2016officers for a list of Region officers. Some new Regions have interim officers. Elections will occur at the spring meeting.

Southwestern Musician | April 2016 17

2016 TMEA CLINIC/CONVENTION

18 Southwestern Musician | April 2016

More images on page 50

Southwestern Musician | April 2016 19

tmea distinguished a dm inistr ator spotlight The TMEA Distinguished Administrator Award program recognizes school administrators whose support has been critical to the music program successes in schools across our state. TMEA has recognized over 180 deserving administrators through this program. When TMEA honors an administrator with this designation, the nominating TMEA member is sent a certificate to present their administrator. To nominate your administrator, go to www.tmea.org/adminaward.

David Bishop, Principal Caprock HS, Amarillo ISD Nominated by Andrea Cruz & Sam Labordus David Bishop is visible around campus, greeting students and others on campus. He makes an effort to attend the activities of all campus programs, from sports, to fine arts, to CTE events. He goes above and beyond to be a presence at our events and does so with great pride in our students. I appreciate the thank-you notes he sends to us when we represent the campus at community events or host competitions. He also holds us accountable for meeting campus expectations. He recognizes the special bonds we have with students in our programs, noting that we may be the ones who know the students best because we’ve taught them for four years. He is very honest and forthcoming on the topics we discuss.

He wants nothing but the best for our kids—the best equipment, the best experiences, and the best adults on campus.

Mr. Bishop continues to help fund our convention trips so that we can keep current on our musical and educational trainings.

He helped secure funds for a new choir sound system. The band had numerous instruments stolen and damaged because they didn’t have proper storage facilities. Mr. Bishop ensured they got brand-new storage cabinets throughout the band hall to keep instruments safe and secure. Mr. Bishop believes that students come to school not only to learn, but also to pursue what they are passionate about. He knows that students are passionate about music, and knows what it can do for their futures.

Vickie Gearheart, Superintendent Nocona ISD Nominated by Jason Mincy Dr. Vickie Gearheart is a true champion of the music in schools movement. She works tirelessly to ensure students have access to the fine and performing arts and that the music programs in Nocona get the supplies and materials they need to be successful.

Students in K–2 receive music every day for 22.5 minutes.

Grades 3–5 receive music three times per week for 45 minutes.

Sixth graders receive both band and choir instruction 45 minutes 20 Southwestern Musician | April 2016

per day—that’s a total of 1 hour and 30 minutes of music five days a week! In 7th–12th grade, students may choose between band or choir and another fine arts classroom.

Dr. Gearheart also ensures that faculty feel supported in this community. She attends our concerts and programs and makes it a point to tell us her thoughts—positive and negative—ensuring we are delivering a high-quality program for the people of Nocona. Last year, Dr. Gearheart traveled to the TMEA convention. She drove 6–7 hours to spend two hours with the band directors and then drove 6–7 hours back to Nocona for a school board meeting. This year, Dr. Gearheart attended the convention and spent an entire day with each music teacher.

Dr. Gearheart ensures that the music programs receive the materials and supplies they need. Last year, she paid for a new keyboard for my school ($2,000), an amplifier ($800) and a new sound system ($10,400). All of these funds came from her budget to make our music program at the elementary school better and more viable for years to come.

Scott Hammond, Principal Church Hill MS, Comal ISD Nominated by Melissa Lacy There are very few administrators who are willing to take a chance on the fine arts to the degree my principal has. With so much focus on testing efforts, and standard expectations, fine arts education is often overlooked. But with a principal like Scott Hammond, the choral program at Church Hill MS has been given the opportunity they deserve.

When I was hired in Comal ISD in 2012, I was assigned to two small choir programs at two campuses. As the individual programs began to grow, there was a great need for a full-time choral director on each campus. Scott Hammond believed in the success and potential of the choir program and created the allotment needed at Church Hill MS to have a full-time choir teacher on his campus. Since this allotment was created, the choral program has nearly doubled in size, and continues to grow. Thanks to Scott Hammond’s continued support, the choral program has successfully purchased choir uniforms, has competed at UIL contest for the first time, and continues recruiting efforts within the community. He is an active spectator at choral concerts and

UNT College of Music Summer Workshops 2016 ClarEssentials Middle School Clarinet Workshops June 6-8, Denton ISD June 13-15, Frisco ISD Daryl Coad, Deborah Fabian, Kimberly Cole Luevano, John Scott, Kristen Thompson, Connor O’Meara Flute! Fundamentals for Teachers June 6-10 Mary Karen Clardy

Summer String Institute for Violin, Viola, Cello, Double Bass, and Harp June 17-July 1 Julia Bushkova, Philip Lewis, Felix Olschofka, Anyango Yarbo-Davenport, Alex Kerr*, Gary Levinson*, Susan Dubois, Daphne Gerling, Liesl-Ann de Villiers, Ann Marie Hudson Brink*, Eugene Osadchy, Nikola Ruzevic, Elizabeth Morrow, Jesús Castro-Balbi, Gudrun Raschen, Jaymee Haefner, Baumer String Quartet, Clay Couturiaux *Masterclass only

29th Annual Bradetich Double Bass Masterclasses June 6-10 Jeff Bradetich, Jack Unzicker

14th Annual Pirastro Strings Elite Soloists Program June 19-24 Jeff Bradetich

16th Annual Lynn Seaton Jazz Double Bass Workshop June 6-10 Lynn Seaton

Vocal Jazz Summer Workshop June 19-24 Jennifer Barnes, Rosana Eckert, Greg Jasperse, Justin Binek

16th Annual North Texas Beginner and Intermediate Bass Camp June 8-10 Gudrun Raschen, Jessica Valls, Carlos Gaviria

ClarEssentials High School Clarinet Workshop June 22-25 Daryl Coad, Deborah Fabian, Kimberly Cole Luevano, John Scott, Meaghan Kawaller

Orchestra Summer Day Camp June 13-17 Elizabeth Chappell (Grades 2-10) Flute! Practicum for Performers June 13-17 Mary Karen Clardy UNT Marching Percussion Camp June 13-16 Paul Rennick Keyboard Percussion Symposium (Formally the UNT Marimba Workshop) June 13-17 Christopher Deane, Brian Zator, She-e Wu, Sandi Rennick, Ed Smith, Gordon Stout Vocal Pedagogy Workshop June 17-18 Stephen F. Austin Vocal Jazz Educator Seminar June 17-18 Jennifer Barnes, Curtis Gaesser Flute! Masterclass in Repertoire and Performance June 17-19 Mary Karen Clardy

Drum Major and Leadership Camp June 23-26 Nicholas Enrico Williams, Jeremy Spicer, Manuel Maldonado Flute! High School Camp June 24-26 Mary Karen Clardy Texas High School All-State Choir Camp July 6-9 Alan McClung (Grades 9-12) Jazz Combo Workshop July 11-15 Mike Steinel Middle School/Junior High Honor Choir Camp July 13-16 Alan McClung (Grades 7-9) Mariachi Summer Camp July 19-23 Donna Emmanuel Keyboard Wellness Seminar July 22-30 Sheila Paige Summer Harp Masterclass August 6 Jaymee Haefner, Sajid Surve

For information contact Anne Oncken: 940–565–4092, Anne.Oncken@unt.edu

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contest. He is a trusting principal who continues to support our growing efforts.

I am so thankful to have a principal who trusts my judgment and leadership to guide our students to continued success. With his support, there are now 170 students in our choral program (from 70 in 2012). He has created a spectacular work environment at Church Hill MS, where teachers can teach to their best ability, grow as educators, and foster positive teaching practices.

All teachers walk through our halls with smiles on their faces.

Teachers are often recognized for their amazing work and commitment to our students. However, very few administrators are recognized for their commitment to their teachers and community. Mr. Hammond truly deserves this recognition for his efforts with our fine arts programs, as well as our school.

Candace Hardin, Principal Parker IS, Aldine ISD Nominated by Rhea Sookdeo Ms. Hardin understands that music is just as important as other classroom subjects, and her actions reflect that. She has not settled for a school culture where music class is treated as extra tutoring for tested subjects. She has even gone as far as telling the faculty that music students may need to be pulled out of other subjects to practice and prepare for music performances.

It’s never a question of whether I’m allowed to go to the TMEA convention. In fact, it’s expected.

When I wanted to have my recorder classes play holiday carols in the hallways, Ms. Hardin made it clear to me that she under-

stood the positive impact that caroling would have on the selfesteem of the performers, and the cheer it would bring to the other teachers and students. Our playing is always more than welcome around the school. Whatever initiatives I take toward growing the music program, Ms. Hardin is always willing to listen and try to make it happen no matter the cost. She is always at our school concerts, and the students know that she takes music seriously.

This is only my second year of teaching. I feel very fortunate to have an administrator who is so supportive. Our district will restructure in a couple of years, and one of my priorities is that I continue to work with Ms. Hardin.

STEAM MS is a newly formed middle school campus in Br andon Johnson, Principal STEAM MS, Burleson ISD Nominated by Alan Sypert STEAM MS is a newly formed middle school campus in Burleson ISD. In the very short period since its opening last fall, Mr. Johnson had to develop every component, including staffing, curriculum, facilities, emergency readiness planning, furniture, budgeting, enrollment, scheduling, transportation, and much more. He always made time to have long and open conversations with me and other stakeholders involved in the fine arts program.

To accommodate our music students, our administration has been extremely flexible in creating schedules that support our band and choir students’ continued success. With his support, the music program at our new middle school received an incredible budget to establish a new beginning band program on our

Southwestern Musician | April 2016 23

campus and the scheduling flexibility to shuttle our students to their home campuses daily for their performing ensemble class rehearsals.

Mr. Johnson’s excellent communication skills have led to an ongoing dialog allowing us to develop this new program into a successful feeder school for our district’s other campuses. He is a true advocate for fine arts in our school, and for the Arts component of our Science, Technology, Engineering, Arts, Mathematics curriculum. His actions have shown his commitment to music education in the scope of implementing one of the state’s educational goals of STEM/STEAM instruction.

John Mehlbrech, Principal Claudia Taylor Johnson HS, North East ISD Nominated by Jarrett Lipman John Mehlbrech is an inspirational leader in our community in terms of the value he places on music and the fine arts, and his leadership has enabled the band program at Johnson HS to flourish during his five years on our campus. He begins each faculty meeting by highlighting the accomplishments of the band, orchestra, choir, and art students. He also recognizes athletics during this time. Each year, he reminds us that our subjects are why students come to school every day.

Mr. Mehlbrech always makes an effort to accommodate our requests, whether it is pulling kids from class to go recruit for our programs, providing extra funding to purchase new instruments or equipment, helping mediate parent issues, or even allowing the band to miss football games for competitions. He gets to know the band and fine arts students by name and by their accomplishments. He attends almost all competitions, concerts, and performances, and he loves to talk to the students at the end of each performance to tell them how proud he is of them and how much they mean to him.

He gives so much of himself to our campus, and to the arts, all while still supporting the campus as a whole. Two to three times a week, Mr. Mehlbrech addresses the entire campus with words of wisdom, and always ends with his favorite phrase, “Make it a great day or not—the choice is yours.” With Mr. Mehlbrech as our leader, it is hard not to have a great day.

Richard Sauceda, Principal Hereford HS, Hereford ISD Nominated by Jennifer Berg Richard Sauceda is a steadfast, supportive, progressive, and down-to-earth principal. Historically, few students participated in choral music and even fewer students experienced the challenge of UIL events with regularity. Mr. Sauceda allowed me to implement a successful curriculum, and when I had questions, his answers were always an immediate yes or no and never a let me think about it. That has allowed the positive momentum to build over the years and now the choir program has experienced several successful years of local performances as well as various UIL contests.

Mr. Sauceda understands the needs that come with growing from 70 to 160 students in the program, and I have never had to ask for more money in the budget. Based on some exchanges we had, Mr. Sauceda has even anticipated the monetary needs

and directed more funding to the choir program. I’m quite sure doing something like that isn’t the norm, but that is part of what sets him apart as an administrator nominated for this distinction.

This past year he suggested and then funded a project to coordinate a combined performance of our high school varsity choir members with one of our elementary schools for a school board meeting. What a fantastic reward to experience the mentoring and joy exchanged between students!

I am proud of and grateful for a principal like Mr. Sauceda who continues to invest in our journey with the choirs at HHS. Deber a Thomas, Principal Kujawa ES, Aldine ISD Nominated by Mary Tate A successful program starts from the top, and at my school that is with our principal, Debera Thomas. At Kujawa Elementary the specialty teachers are asked to educate the staff about how to incorporate fine arts into the classroom, organize events for the parents, and offer various other activities because our principal encourages not only our students but also our staff and community members to be well rounded. Each morning begins with music over the loud speaker to get our brains going. Ms. Thomas sees music and the arts as a part of our daily routine and a vital component of the learning that takes place at our school.

Our 3rd- and 4th-grade choir was selected to perform for this year’s TMEA convention. I worried we wouldn’t be able to fund a trip of this capacity for our Title I students, but her response was simple: “We will find the money.” She was with us every step of the way to find sponsors, attend rehearsals and programs, and chaperon, and she even spoke at the convention. Our trip would not have been possible and I wouldn’t have dreamed of taking my students without her support.

I don’t think I can put into words exactly what Debera Thomas has done for me and our students at Kujawa, but it is evident in the eyes and actions of our students and staff members. Any teacher of any subject would be fortunate to teach under her guidance. Ms. Thomas is an advocate for music education in our district and sets an example for other administrators.

nominate your school administr ator TMEA developed this program to offer members the opportunity to publicly recognize administrators who are especially supportive of music education. Several recipients of this award have commented on how valuable they view this achievement. With end-of-year programs and concerts approaching, take this opportunity to recognize an administrator who has been instrumental to the success of your program.

Go to www.tmea.org/adminaward to nominate your administrator for this distinction.

Southwestern Musician | April 2016 25

Congratulations TMEA Scholarship Winners This year, TMEA is awarding $180,000 in scholarship funds for students who will be working toward careers in music education or furthering their current careers with additional studies.

Five-Year Undergraduate Bill Cormack—up to $15,000 Felicity Fulton, Lorena HS

Past-Presidents—up to $12,500 Sheridyn Johnston, Silsbee HS

Past-Presidents Memorial—up to $12,500 Jessica Harper, Hebron HS

Executive Board—up to $12,500 Mary Williams, Langham Creek HS

Felicity Fulton, Jessica Harper, Sheridyn Johnston, and Mary Williams

One-Year Undergraduate—$2,500

Lizbeth Barrera, Rio Grande City HS Kimberly Blaha, Tomball Memorial HS Eduardo Estrada, Brackenridge HS Steven Gu, Alief Hastings HS Johnny Patrick, Highlands HS Monique Sanford, Duncanville HS Hannah Scott, Langham Creek HS Kyle Smith, St John XXIII College Preparatory Adam Thomas, Timber Creek HS

College Division One-Year Undergraduate—$2,500

Katherine Dodgen, UT/Arlington Oluwagbohunmi Fawehinmi, Texas Tech Univ Luke Hoeft, Baylor Univ Kelsey Hohnstein, Texas Tech Univ De’Evin Johnson, Texas State Univ Sawyer Lowe, Texas Christian Univ Kameryn Mattingly, Texas Tech Univ Rachel McCormick, Baylor Univ Andrea Montano, Univ of Houston Katie Morris, Texas Tech Univ Evan Moynihan, Baylor Univ Alan Olmos, Univ of North Texas Maria Rechtorovic, Baylor Univ Alyssa Reeves, Texas A&M Univ - Commerce Justin Shen, Univ of Houston Allison Speziale, Texas Tech Univ Jacquelyn Vaught, Texas A&M Univ - Corpus Christi Tannon Woodson, Univ of Houston Abigail Wunneburger, UT/Austin 26 Southwestern Musician | April 2016

One-Semester Student Teaching—$2,500 Charles Agueros, Univ of North Texas Ashley Allen, Texas Tech Univ Megan Becker, Baylor Univ Brianna Busby, Baylor Univ Matthew Chan, UT/Austin Benjamin Cook, Texas Tech Univ Cheri Crutcher, Texas Woman’s Univ Kaitlyn Gerde, Texas Tech Univ Trey Hanis, Texas Tech Univ Mattie Kotzur, Southwestern Univ Lauren Kylberg, Stephen F. Austin State Univ Katelyn Losos, Texas Tech Univ Oscar Onofre, UT/San Antonio Alejandro Padro-Fuentes, UT/San Antonio Jared Paul, UT/San Antonio Andrew Reinhart, Texas Tech Univ Ryan Reyna, Southern Methodist Univ Zachary Sherburn, Southern Methodist Univ Eric Tannenbaum, Southern Methodist Univ

One-Year Graduate Study—up to $2,500

Nathan Dame, Denison HS/Scott MS Tiffany Gibson, Simon Rivera HS Jessica Grant, Good Shepherd Episcopal School/SMU Katherine James, Vanguard College Preparatory School Christopher Meredith, Shadow Ridge MS Joshua Munoz, Dickinson HS Carol Rustowicz, UT/San Antonio Renee Wang, The Ohio State Univ

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BAND NOTES

B Y

J O E

M U Ñ O Z

In Memoriam A DAN SALAZAR JULY 16, 1927–JUNE 22, 2015 PHILLIP L. A IKMAN January 11, 1942–January 14, 2016 DIANE BAKER July 28, 1950–February 8, 2016

The winners are . . .

A

s I look back at what we shared at the 2016 TMEA Clinic/Convention, I see the true power of our profession. Our annual pilgrimage to San Antonio is a celebration of what we do and why

we do it.

Performances by the high school and college/university invited bands and our state Honor Bands recalibrate our ears and show us what is possible when you have a synergy of outstanding teaching and dedicated, talented musicians. It also energizes us to keep exploring new ways to lead our students to greater musical communication and find experiences that will help showcase their talents. The parents, administration, and communities that support these ensembles should take great pride in the accomplishments of their students and teachers.

It is always invigorating to see so many colleagues attending clinics and visiting the exhibit hall throughout the convention. Seeing overflowing clinic rooms is a testament to our need to be reminded of proven methods and to find new information that will help us and our students. I often take a moment just to look around and notice the makeup of the room. I see well-established directors sitting next to college students. All attend clinics to find those golden nuggets that will help them be more effective in how they deliver their lessons on a daily basis. When I walk through the convention center, hotel lobbies, and restaurants, it is equally satisfying to see educators sitting together, networking and mentoring one another. The trait that the experienced teacher and the young teacher share is a thirst for information that can help their

The trait that the experienced teacher and the young teacher share is a thirst for information that can help their students achieve at a higher level or have a better experience than they did the day before.

30 Southwestern Musician | April 2016

April/May—Attend your spring Region meeting.

April 1–June 1—Submit proposals for the 2017 TMEA Clinic/Convention.

April 30—Texas Music Scholar application materials postmark deadline.

May—TMEA memberships for 2016–2017 can be renewed online.

May 14—Invited high school jazz ensemble application postmark deadline.

June 15—Deadline for Region Honor Band winners to be postmarked to Area Audition Chair.

June 23–24—Area Honor Band listening sessions.

June 30—All 2015–2016 TMEA memberships expire.

June 30—Deadline for Area Honor Band winners to be postmarked to State Band Chair.

July 21–24—Texas Bandmasters Convention in San Antonio.

February 8–11, 2017—TMEA Clinic/ Convention in San Antonio.

SUMMER

BAND concert band camp june 12 - 16, 2016

drum major camp june 19 - 23, 2016

marching leadership camp june 19 - 23, 2016

color guard camp june 19 - 23, 2016

STRINGS texas chamber music institute june 26 - july 1, 2016

summer strings camp july 10 - 15, 2016

texas conducting workshop july 5-9, 2016

JAZZ uta summer jazz combo workshop july 17 - 22, 2016

VOCAL All-State Choir Camp july 27 - 30, 2016

one last look september 10, 2016

music.uta.edu/camps

students achieve at a higher level or have a better experience than they did the day before.

Seeing the All-State students go through their convention experience should give every teacher energy to continue affecting their students in positive ways. It begins at the All-State registration counter. Students often look anxious about what they are about to experience.

As the week progresses, you see the pride in their achievement grow. Standing in the concert lines you can hear parents, family, friends and directors of those

Attend Your Spring Region Meeting Times & Locations on Page 2

students sharing their thoughts on what their child or student has accomplished.

Experiencing the standing ovations and seeing tears of pride in the eyes of parents and directors drives home what an impact this process offers to students and everyone who is invested in the lives of these young people.

All of this would not be possible without hundreds of volunteers who give of themselves for the greater good. If you volunteered in any capacity at the 2016 TMEA Clinic/Convention, know that your work is truly appreciated. Thank you for your invaluable contributions!

Our TMEA office staff should also be commended for working through the many challenges of presenting a clinic/ convention of this magnitude in a newly expanded convention center. I hope that everyone will consider volunteering in the future to help ensure the future success of our annual TMEA Clinic/Convention and the positive impact it has on each one of us and our students.

The true beneficiaries of our annual pilgrimage to San Antonio are each one of us, our students, and the future of music education.

2016 Marching Arts Director Symposium

Area Honor Band Listening Centers Area Honor Band listening sessions will take place June 23â&#x20AC;&#x201C;24 at three sites across the state. Areas A, B, and C will be at Keller Central HS in Keller. Areas D and F will be at Spring HS in Spring, and Areas E and G will be at Canyon HS in New Braunfels. Judging panels will adjudicate the same classification for all Areas at a given listening center on consecutive days. Additional information may be found on the Honor Band Competition and Rules webpage found under the Band Division menu. Thanks in advance to the chairs, hosts, and judges for these events.

Invited HS Jazz Ensemble Applications The postmark deadline for applications and supporting materials to perform at the 2017 TMEA Clinic/Convention as the invited high school jazz ensemble is May 14. For additional information, applications, and rules go to www.tmea.org/ jazzapplication.

Spring Region Meeting Be sure to make plans to attend your spring Region meeting. Be involved in the decision-making process and take

in conjunction with the annual Texas A&M University-Commerce Leadership, Drum Major & Colorguard Camp June 20-22 Featured Clinicians: David Gibbs Executive Director, The Blue Devils Phillip Clements Director of Bands, Texas A&M University-Commerce Frank Troyka Director of Education, System Blue Amanda Drinkwater Director of Bands, Marcus High School Todd Ryan Visual Caption Head, The Blue Devils Bill Watson Director of Fine Arts, Lewisville ISD, Brass Instructor, The Blue Devils Allan Goodwin Associate Director of Bands, Texas A&M University-Commerce Connect, Inspire, Create Resident and commuter options available Register NOW: tamuc.edu/music Texas A&M University-Commerce and The Blue Devils Drum & Bugle Corps Partners in Music Education

32 Southwestern Musician | April 2016

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Some Thoughts on Student Equipment a talk with Sunil Gadgil Based in the North Austin/Central Texas area, Sunil Gadgil directs Sax Pro Workshops which provides master class opportunities and summer camps for saxophonists throughout the area. In addition, Sunil maintains a thriving private studio of 50 students as well as a saxophone studio at the University of Mary Hardin-Baylor.

The equipment should simply allow the student WKH IUHHGRP DQG ȵH[LELOLW\ to achieve their own sound.

Tell us a little about the Austin saxophone community.

I’m incredibly privileged to be a part of a thriving classical saxophone community in the Austin area. The support, expertise, and fantastic studios of my colleagues make it possible for me to run Sax Pro Workshops and to codirect ASEYouth, the youth saxophone ensemble arm of the Austin Saxophone Ensemble. I’m happy to be in the midst of such a great saxophone world here in Central Texas!

What are your thoughts on equipment for students?

In an ideal situation, a student’s equipment will allow them to discover things about musicianship and their own playing without getting in the way. The reed, mouthpiece, and ligature should work together to allow the student to use their air expressively, achieve light and clear articulation in all registers, and alter their sound to blend and adjust

For more on Sunil Gadgil, visit www.sunilgadgil.com

to various playing situations. The mouthpiece doesn’t make the sound after all we are not robots! The equipment should simply allow the student the freedom and flexibility to achieve their own sound.

What equipment have your students found success with?

I typically recommend the Vandoren Optimum AL3 or AL5 mouthpieces for classical alto saxophonists and the V16 A5 medium chamber for beginning jazz players. The Optimum TL3 or V5 T20 are great for classical tenor (the V16 T5 for jazzers), and the Optimum BL3 or BL5 are my recommendations for baritone players.

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advantage of the opportunity to share your views with your colleagues. With the addition of new Regions and changes to existing Regions, the spring Region meeting will be important for everyone involved. Go to page 2 of this issue to find your meeting location, date, and time. They are also posted online at www.tmea.org/regionmeetings. Please make room in your busy schedule for this important meeting.

2017 Clinic Proposals While this issue is a review of this year’s convention, it’s already time to begin thinking about proposing a clinic for our 2017 TMEA Clinic/Convention.

Proposals are accepted April 1–June 1 online at www.tmea.org/clinicproposals.

Go to that page now to learn what you’ll need to be able to submit so that you can take time to get all this information prepared. See page 41 in this issue for more information about the types of clinics that our attendees have said they want to see presented. The Executive Board will consider that feedback when reviewing clinic proposals.

office volunteers, registration volunteers, runners, and all others who have volunteered for the Band Division. He then recognized the Honor Band finalists and winners.

Richard Floyd, TMEA Band Division Featured Clinician, presented a keynote address.

Dr. Brad Kent, UIL Music Director, gave a UIL report.

Steven Moore, TBA President, gave a TBA report.

Sealy gave an update on tickets for the Canadian Brass concert. He reviewed this

year’s Honor Band process and important reminders concerning the rules, guidelines, timelines, and ethical practices for the Honor Band process.

No new business was submitted.

Sealy introduced the newly elected TMEA Vice-President and Band Division Chair, Joe Muñoz.

Motion was made and seconded for adjournment. Meeting was adjourned at 6:12 P.M. Minutes submitted by Daniel Allen, Franklin High School.

2016 Band Division Business Meeting Minutes Thursday, February 11, 2016 CC Stars at Night Ballroom 4 The meeting was called to order at 5:25 P.M. by TMEA Vice-President and Band Division Chair Andy Sealy. A moment of silence was held to honor the passing of Diane Baker. Scott Deppe, Director of Bands, Lamar University, gave information on the Diane Baker Music Endowed Scholarship.

A motion was made to approve the minutes from the Band Division Meeting held during the 2015 TMEA Convention.

This motion was seconded and then approved by the membership.

Sealy recognized the two candidates for TMEA Band Division Vice-President: John Carroll and Joe Muñoz. Support speeches were given for each candidate: Dr. Gary Garner spoke for John Carroll and Richard Crain spoke for Joe Muñoz.

Voting took place and ballots were collected by the Region Band Chairs.

Sealy recognized the Region and Area Band Chairs for their service to TMEA, the Recorded Auditions Chair, all who worked in many capacities in the audition process, convention presiders, guides, Southwestern Musician | April 2016 35

SO MUCH TO LEARN

D

uring the 2016 TMEA Clinic/Convention, attendees were faced with having to select from over 300 clinics offered in just four days. With that kind of choice, it’s likely you weren’t able to attend every session of interest. After the convention, we asked many of our clinicians to provide a primary takeaway that they hoped their attendees returned home having learned. Some of these highlights are offered below. Many stand alone as valuable strategies or philosophies that can influence your daily work. Some might drive you to learn more about the clinic. Collectively, they demonstrate the diversity of professional development offered throughout our convention. Thanks go to our convention clinicians for their preparation and delivery of such valuable content. We hope this serves as a reminder of what you learned and provides you a glimpse into the sessions you weren’t able to attend.

All teachers find moments that present significant challenges in our daily lives. The positive ways in which we respond to those challenges, whether through research, building stronger relationships with others, or simply maintaining a firm grasp of a teaching philosophy, will ultimately reduce attrition rates of music students and music teachers.—Aaron Kennel, Nimitz HS, Aldine ISD A formula for memorization, or permanent musical learning: 1. Repetition, 2. Lack of internal or external interference, 3. Meaning. When students have difficulty learning or remembering, I suggest reviewing this simple formula to see if one of the factors is missing or has been minimized.—Andrew Dabcynski, Brigham Young Univ A simple five-finger pattern can be used to teach many concepts in piano as well as in theory keyboard skills. Concepts taught are the geography of the keyboard, finger numbers, correct hand position and technical/coordination skills, major triad, dominant seventh chords, circle of fifths, tonic, and dominant, transposition, and harmonizing a melody.—Celinda Hallbauer, Central Texas College All advocacy is local. You cannot take a generic online pamphlet and advocate effectively for what happens in your music classroom. Teachers must constantly reflect on how well their program is serving students of all ability levels.—Steven Demorest, Northwestern Univ

Center-based learning is an excellent way to empower a substitute, and it can be utilized in your classroom for transitions, critical listening, and assessments. Use centers to help differentiate and provide concept interventions to help support students who may be falling behind.—Erin Pitts, Roanoke ES, Northwest ISD Chamber music provides an exciting and fun opportunity for young students to collaborate with fellow musicians, develop concepts of rehearsal etiquette and preparation, become exposed to a variety of stylistic genres, and, ultimately, foster individual intrinsic motivation.—James Barger, West Texas A&M Univ Competitive show choir can fill an interesting niche in Texas choral music programs. Competing in a placement-based environment, not just for ratings, has big benefits for our programs, not the least of which is bringing in demographics of students that can otherwise be hard to reach and recruit.—Jennifer Randall, Eaton HS, Northwest ISD Conducting is a challenging avocation. We must be continually vigilant and aware of our important role in choosing music that enriches the human spirit of our performers.—Matthew Mailman, Oklahoma City Univ Consider which strategies, behaviors, and outcomes support goal attainment. Determine how framing, priming, and feedback can be used to support managing the engagement of motives that facilitate goal pursuit.—Abel Rodriguez, North Mesquite HS Southwestern Musician | April 2016 37

Learn More

&OLQLF KDQGRXWV DQG DXGLR Ă&#x20AC;OHV RI WKH 7KXUVGD\²6DWXUGD\ clinics are at www.tmea.org/convention. If you didnâ&#x20AC;&#x2122;t purFKDVH DFFHVV WR WKH DXGLR Ă&#x20AC;OHV \RX FDQ VWLOO GR WKDW IURP WKH convention webpage.

Counting is not a baby step; it is the foundation of musical fluency.â&#x20AC;&#x201D;Darcy Williams, Stiles MS, Leander ISD Do you always stop to spotlight something wrong or poorly done? Why not stop to praise a beautiful sound, a section that matched pitch or shaped a line well. Students want your praise and alter their playing to get it. The good will spread in the ensembleâ&#x20AC;&#x201D;spend time in the excellent world!â&#x20AC;&#x201D;Rick Yancey, Retired, Sugar Land For double-reed instruments, response + pitch = good tone.

When response and pitch are taken care of first, tone follows very easily. Using high-quality handmade reeds, along with an oo embouchure for both oboe and bassoon helps facilitate strong fundamentals of response, pitch, and tone.â&#x20AC;&#x201D;Celeste Johnson, Oklahoma State Univ

I will not ask you to perform any task for which I have not provided the necessary tools or instruction; in return, I ask that you respond with your best effort. Through this covenant we can move quickly and efficiently toward mastery.â&#x20AC;&#x201D;Florence Scattergood, Youth Chorus of Central Texas, Waco Increasing awareness of depression and suicide prevention is an area of great need for all of us as teachers and as human beings.â&#x20AC;&#x201D;Peter Warshaw, Leander ISD Intonation is an aural skill that must be taught visually, aurally, and kinesthetically from the start. Students must be held responsible for reading, but they must be taught to do so in a fun and motivational context. Teachers also need to be careful not to allow nurturing strategies to become crutches to reading. â&#x20AC;&#x201D;Charlene Dell, Univ of Oklahoma It is the responsibility of all band directors to carefully teach both instrument-specific and full-ensemble fundamental exercises that enhance the correct learning procedure for teaching tone production, articulation, and flexibility for wind instruments. Mastery of these fundamental exercises enables them to more easily develop skills needed to play in different and more complex ensemble situations.â&#x20AC;&#x201D;John Benzer, Univ of Houston 38 Southwestern Musician | April 2016

Know what you want an app to do before you begin searching.

Define the job first, then look for the best tool. When integrating technology with traditional methods, donâ&#x20AC;&#x2122;t waste class time teaching tech skills. Choose tech that fits student skill levels so they are free to concentrate on the music and task.â&#x20AC;&#x201D;Denise Lewis, White Pigeon Community Schools, Minnesota Legato tonguing for trombonists requires constant air, a light tongue (loh), and a fast slide. Practice these independently before attempting to slur. These components can be addressed by glissando playing, lightly tonguing rhythm on a single pitch, and playing the fronts of the notes with a rhythmic slide respectively. â&#x20AC;&#x201D;Jeff Dunn, Private Instructor, Houston Look at your curriculum and lessons through the eyes of a kindergartner. Create a fantasy world for them to be drawn into.

Smile and demonstrate your love of music to them. Choose highquality folk music as your curriculum base, use stories to transition between activities, and away you go!â&#x20AC;&#x201D;Lauren Bain, Schurz ES, New Braunfels ISD Many music education majors successfully begin their studies at community colleges. The Field of Study, approved by the THECB, helps students create clear transfer paths between institutions. Community colleges serve many student populations that need additional academic, musical, or financial assistance.â&#x20AC;&#x201D;Martha Braswell, San Jacinto College Central One of the many ironies Iâ&#x20AC;&#x2122;ve discovered as a conductor is that the more meticulous our rehearsal planning and score study, the greater chance for spontaneity in our rehearsalsâ&#x20AC;&#x201D;and these are the moments that our students most often cherish.â&#x20AC;&#x201D;Gary Seighman, Trinity Univ Online connections among performers, audiences, composers, clinicians, and conductors allow students a window to the world of cultures and the opportunity to hone their skills without ever leaving the classroom.â&#x20AC;&#x201D;James Ekrut, Fort Worth ISD Our goal as teachers is not only to lead students to perform successfully but also, and more importantly, to teach them to be successful learners.â&#x20AC;&#x201D;Daniel Gee, Chisholm Trail MS, Round Rock ISD Our manual conducting gestures are used in combination with other means of communication, and a great deal of a conductorâ&#x20AC;&#x2122;s communicative capacity is based in facial expression, eye contact, body language, and general posture. A greater awareness of these nonverbal aspects will enhance the effectiveness of our conducting on all levels.â&#x20AC;&#x201D;Carolyn Watson, Texas State Univ Our singers deserve to learn the language of music. Letâ&#x20AC;&#x2122;s dig a bit into our programmed choral repertoire, analyze and teach from it, and give them musical skills for today and the rest of their lives.â&#x20AC;&#x201D;David Xiques, San Francisco State Univ Patience, empathy, and a willing heart to work together for the good of each student promotes understanding. Diversity is something that can be seen in any classroom, and by differentiating instruction to meet the studentsâ&#x20AC;&#x2122; needs, there can be success in a general education classroom.â&#x20AC;&#x201D;Erika Warren, Special Education and Music Teacher, Dallas Playing a game in the beginner-band classroom does not have to be an alternative to learning. If we supplement our instruction with a variety of activities, we are more likely to effectively reach more students. When more students are successfully engaged, the quality and quantity of students will increase in our programs.â&#x20AC;&#x201D;Timothy Pallone, Lumberton HS

Stay in Tune with Your Teaching Goals Online Master’s Degree in Music Education The University of Florida’s School of Music, strives to connect creative educators with diverse tools to develop their teaching methods in ways that empower them to inspire their students. Whether you are a K-12 music educator, direct extracurricular activities, lead music classes, or teach private lessons, our online Master of Music in Music Education program (MMME) will expose you to both practical and theoretical perspectives, helping you to develop even stronger connections to your students through music.

Throughout the coursework, you’ll have the opportunity to: • Develop teaching methods you can immediately put into practice

• Learn authentic approaches to assessment of student learning

• Discover tools such as computer software, interactive videos, and online activities to enrich your classroom

• Gain a greater understanding of how musical creativity develops

• Integrate instructional design principles to build innovative, engaging lessons

• Connect and collaborate with a diverse group of talented peers in the music education field

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Submit a Proposal for the 2017 Clinic/Convention Why Submit?

Attendees Have Spoken

Before You Submit

Offering over 300 professional development clinics is one of the most amazing aspects of the TMEA Clinic/Convention!

With some of our most wellreceived clinics presented by PHPEHUV MXVW OLNH \RX LW¡V WLPH to create a detailed proposal to submit for next yearâ&#x20AC;&#x2122;s event.

Share what you know!

Attendees want to learn about the following topics: teaching methods, rehearsal techniques, classroom management, repertoire selection, instrument methods, technology integration, recruiting/retention, conducting techniques, urban/rural challenges and solutions, specialneeds instruction, funding/grant writing, assessment, and more.

Your proposal should offer a complete summary of what \RX ZLOO SUHVHQW DQG WKH WLWOH should be an obvious indicator of the content. Submit a short biographical statement on each clinician. Be prepared to offer a very short summary as well descriptive details about what you will present and how.

www.tmea.org/clinicproposals April 1â&#x20AC;&#x201C;June 1 Proper setup is a prerequisite for effective string playing, enabling students to progress toward their potential and helping them stay healthy and pain-free. A strong, balanced posture also leads to greater ease and relaxation, which in turns leads to bigger sound and greater facility.â&#x20AC;&#x201D;Ames Asbell, Texas State Univ Students want learning to be easy, fast, and effortless, but that style of learning doesnâ&#x20AC;&#x2122;t always lead to long-term retention of music skills and knowledge (no pain, no gain). Slow down learning or even make the task tougher. Strive to strike a balance between asking students to struggle and scaffolding their learning.â&#x20AC;&#x201D;Diane Persellin, Trinity Univ Survey students to determine their performance strengths and weaknesses and to get to know their musical goals. Listen to their interests and include them in your lessons. Encourage them to practice techniques that not only advance their skill set but inspire

them to want to perform great musicâ&#x20AC;&#x201D;again and again.â&#x20AC;&#x201D;Neil Dusseault, Private Instructor, Boerne You donâ&#x20AC;&#x2122;t have to be disconnected by the physical isolation of your teaching assignment. Social media is a powerful form of connection that can support, encourage and inspire you!â&#x20AC;&#x201D;Kathy Kuddes, Plano ISD The ultimate goal of education is to lead students to think for themselves. It is the value added that truly matters. Without artistic, musical value added, all you have is a product.â&#x20AC;&#x201D;Richard Floyd, UIL State Director of Music Emeritus There are no real secrets to sightreading with middle school students. We need a personal plan and student buy-in. Good sightreading skills are holistically dependent upon good fundamentals and a daily commitment to excellence. For middle school students, it is acceptable to allow them to create, engage, and enjoy the process!â&#x20AC;&#x201D;Scott Deppe, Lamar Univ They say you can lead a horse to water, but you canâ&#x20AC;&#x2122;t make him drink. Solution: Feed him salt. Correctly placed external motivators can create intrinsically motivated students.â&#x20AC;&#x201D;Jennifer Gallagher, Ryan JH, Alvin ISD To develop leadership skills in your music class, remember to teach your students to value the individual, make good choices, speak clearly, develop a positive climate, provide a safe environment, establish procedures and routines, master performance excellence, accept peer support, conduct musically, and give feedback.â&#x20AC;&#x201D;Mary Neeley Stevens, Carter Academy, Aldine ISD Southwestern Musician | April 2016 41

Travel so you meet the people and truly experience their culture. There is so much wonderful music in the world, and the ways to teach it are not always parallel to our own. Take every opportunity to experience a culture firsthand because regardless of governmental differences, as musicians and as music educators we are more alike than we are different.â&#x20AC;&#x201D;Janice Killian, Texas Tech Univ Very young musicians need the opportunity to explore and play with many kinds of sounds. Repeated opportunities to experiment with sounds builds a repertoire of sounds they know how to manipulate. The goal is to move them from â&#x20AC;&#x153;What does this do?â&#x20AC;? to â&#x20AC;&#x153;What can I do with this?â&#x20AC;? Adults can introduce new sounds and help expand opportunities to play with and organize sounds.â&#x20AC;&#x201D;Janice Smith, Queens College City Univ We all know how to teach solâ&#x20AC;&#x201C;mi, but for some reason teaching beyond the pentatonic is a mystery. Remember the process: Sing songs and games with melodic turns; make body signs from the songs; determine if the new note is closer to sol or mi (because this is the first time we have taught half-steps); make body signs to unknown material; give it a name. Then practice.â&#x20AC;&#x201D;Lamar Robertson, KodĂĄly Clinician We are already successfully implementing the TEKS through unique and innovative teaching and learning strategies, but as public school educators, we must learn to translate our success!â&#x20AC;&#x201D;Christopher Hanson, San Marcos HS When approaching structuring and assessing creative activities, it is important to provide enough structure to give a guidepost for

students, while leaving enough room for students to think divergently.â&#x20AC;&#x201D;Marjorie LoPresti, Richard Dammers, East Brunswick HS, New Jersey; Rowan Univ When looking for childrenâ&#x20AC;&#x2122;s books to use in your classroom, search for books that have artistic, intellectual, cultural, or historical value. Is the book well written? Does it have depth? Is there an element of surprise? Will the children be able to relate to the bookâ&#x20AC;&#x2122;s subject matter or characters? What role can this book play in the musical training of your students? Is this book one you want the children to remember for the rest of their lives?â&#x20AC;&#x201D;Darla Meek, Texas A&M Univ/Commerce With ever-tightening budgets and busier schedules, bringing guests into your rehearsals can be a challenge. However, improvements in technology are allowing for options using videoconferencing software. While still not perfect, with a little bit of planning and equipment (particularly an external condenser microphone) you can get meaningful feedback for you and your students, or simply expose them to the wider music world through contacting performers or composers.â&#x20AC;&#x201D;John Denis, Univ of North Texas Your choice of repertoire and musical literature lays the foundation for success in instruction, concerts, and contests. The repertoire you select should be of high quality, it should encourage growth in musical and technical knowledge and skills, and, most importantly, it should move the emotions of both performers and listeners.â&#x20AC;&#x201D;Charlotte Mizener, Lamar Univ

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42 Southwestern Musician | April 2016

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B Y

P E N N Y

ORCHESTRA NOTES

M E I T Z

Consistency and variety April/May—Attend your spring Region meeting (see page 2 for details).

April–June 1—Submit proposals online for the 2017 TMEA convention.

April 30—Texas Music Scholar application materials postmark deadline.

May—TMEA memberships for 2016–2017 can be renewed online.

May 1—HS Full, JH/MS Full, and JH/MS String Honor Orchestra Part A online submission deadline.

June 1—Postmark deadline for HS and JH/MS Full, and JH/MS String Honor Orchestra CDs and other entry materials.

June 18–19—First round of Honor Orchestra judging (HS and MS/JH Full, MS/JH String).

June 30—All 2015–2016 TMEA memberships expire.

July 21–24—TODA Convention in San Antonio.

August 1—Deadline for waivers to the audition process to be received at TMEA headquarters.

September 15—HS String Honor Orchestra online entries due.

February 8–11, 2017—TMEA Clinic/ Convention in San Antonio.

A

s I’ve settled back in to my everyday world following the TMEA Clinic/Convention, I’ve been struck by how rejuvenating the convention is, even one in which I had little time to actually attend sessions. Just being around colleagues and soaking in the energy and excitement of the event has given me a fresh outlook on my daily activities. An idea that has proven helpful is twofold: daily structure and variety.

A consistent routine is integral to a well-managed classroom and sequential teaching and learning. I am reminded again of the importance of posting the daily rehearsal order before my students arrive. As they walk in the door, everyone can easily see the focus for the day’s rehearsal. Keeping the overall rehearsal order the same each day gives both students and teacher a comfortable format and sets the expectations for each class.

But day after day, with the same format, the same music, the same teacher, and the same students, it can get monotonous. Changing up even a small aspect of rehearsal can breathe new life into a lethargic class. Although my overall format doesn’t alter much or often, I try to inject variety within that framework. Here’s the basic rehearsal structure, followed by ideas for adding interest: 1. Tune 2. Warm-ups and technique 3. Repertoire 4. Add-ons

Changing up even a small aspect of rehearsal can breathe new life into a lethargic class.

Southwestern Musician | April 2016 45

Tuning: Itâ&#x20AC;&#x2122;s hard to find ways to bring excitement or variety into tuning each day.

A telltale indicator that the students are bored with tuning is carelessness in listening and adjusting as they tune. Iâ&#x20AC;&#x2122;m sure they get really, really tired of hearing me say, â&#x20AC;&#x153;Playing in tune on a string instrument is hard enough when your instrument is in tune; itâ&#x20AC;&#x2122;s measurably harder when your open strings are out of tune.â&#x20AC;? One listening trick that seems to help is â&#x20AC;&#x153;Aâ&#x20AC;&#x2122;s around the room.â&#x20AC;? Each student plays open A, one at a time, to a pulse of about R =70, so all that is heard is a series of open Aâ&#x20AC;&#x2122;s. The first time around, no one adjusts a string that is flat or sharp. This exercise is just to hear what each personâ&#x20AC;&#x2122;s A sounds like.

Usually, many of the students are quite surprised at how many slightly (or significantly) out-of-tune strings there are.

So after everyone has played their A, we take time to go back and adjust. This definitely helps focus their listening, which in turn impacts how carefully they tune.

Sometimes we will use â&#x20AC;&#x153;Note around the roomâ&#x20AC;? for each string. An additional layer is using this exercise to mindfully check and refine bow hold and use, tone production, and posture.

Warm-ups and Technique: Variety can be created here through having multiple materials available. On our shelf are a couple of different method books, and multiple volumes, Michael Allenâ&#x20AC;&#x2122;s Daily Warm-Ups, and a scale book. Each day, a warm-up or technical study is selected that has relevance to something that will be rehearsed. If the same concepts or exercises are used several days in a row, change tempo, bow style, or another element to keep the students thinking about what they are doing.

Repertoire: It is easy for me to get bogged down in rehearsing small sections of pieces every day, and very hard for me to let the students play through something with rough spots and mistakes. For them, changing the routine by allowing a play-through is pretty exciting, so I try to do that regularly. With new pieces, it may be just a section of a piece. Still, the excitement and gratification the students feel in hearing the small parts of a selection come together really helps maintain a positive energy in the classroom. When a performance is near, â&#x20AC;&#x153;orchestra in the roundâ&#x20AC;? is a great way to shake things up.

All the chairs are set up in a large circle,

and each chair has its own stand. Using the name cards we use in class for seating, students are arranged so no one is placed next to someone playing their part. A variation of this is setting up the chairs in small ensembles, quartets, trios, quintets, and again, seating the students next to someone playing a different part. It helps everyone hear how the parts fit together, giving a new perspective on the piece. In the days before, independent playing is emphasized, and students are encouraged to work out their weak spots, as they wonâ&#x20AC;&#x2122;t have others in their section to rely on.

Add-ons: These are special events the students look forward to. One of my projects this year has been creating a list of videos from YouTube and other sources.

Every couple of weeks, we end class with a video. These range from classical recordings performed by professionals and students, videos of alternative styles including Black Violin, Pentatonix, and others, and spots from NPRâ&#x20AC;&#x2122;s Tiny Desk series. The students look forward to seeing â&#x20AC;&#x153;Videoâ&#x20AC;? listed at the end of a rehearsal plan for the day, and they leave class with smiles on their faces.

RhythmBee Ć?Ä&#x201A;ĹŻĆľĆ&#x161;Ä&#x17E;Ć?

dĹ&#x161;Ä&#x17E; /ĹśÄ&#x161;Ĺ?Ä&#x201A;Ĺś ^Ć&#x2030;Ć&#x152;Ĺ?ĹśĹ?Ć? DĹ?Ä&#x161;Ä&#x161;ĹŻÄ&#x17E; ^Ä?Ĺ&#x161;ŽŽů Ä&#x201A;ĹśÄ&#x161; WÄ&#x17E;Ć&#x152;Ä&#x17E;ŜŜĹ?Ä&#x201A;ĹŻ UIL Sweepstakes Award tĹ?ŜŜÄ&#x17E;Ć&#x152; Ĺ?Ĺ?Ĺ&#x161;Ć&#x161; Mark of Excellence Awards Íś Ĺ&#x161;Ĺ˝Ĺ?Ä?Ä&#x17E; DĆľĆ?Ĺ?Ä? ĎŽĎŹĎ­ĎŻ :Ĺ˝Ĺ&#x161;Ĺś WĹ&#x161;Ĺ?ĹŻĹ?Ć&#x2030; ^ŽƾĆ?Ä&#x201A; &ŽƾŜÄ&#x161;Ä&#x201A;Ć&#x;ŽŜÍ&#x203A;Ć? Sudler Cup ĎŽĎŹĎ­Ď° DĹ?Ä&#x161;Ç Ä&#x17E;Ć?Ć&#x161; WÄ&#x17E;Ć&#x152;ĨŽĆ&#x152;Ͳ ĹľÄ&#x201A;ĹśÄ?Ä&#x17E;

ώϏϭϲ TMEA 3C Honor Band 46 Southwestern Musician | April 2016

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audition process to make the length of the judging day more manageable for judges and to reduce judge fatigue. Under discussion is setting a maximum playback time for Area recordings, based on the length of time a particular excerpt takes to perform at the slowest prescribed tempo plus an added 25%. At the end of that time, the monitor would forward the recording to the next cut. Judges would be instructed to evaluate the recorded excerpt based on the quality of what they listened to and the quan-

Orchestra Division Business Some said it was the shortest Orchestra Division meeting in our history. There are a couple of items that bear emphasizing for those who were not able to attend: 1. Look for a minor change in the wording for Zones of HS Honor Orchestra contest. This will set a minimum number of entries that must be met before utilizing Zone contest rules, and this will bring the rule in line with the JH/MS rule.

2. We are continuing to adjust the Area

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tity of what was not heard because the recording went overtime.

3. The volunteer procedure for acquiring judges for Area and All-State chairing will be replaced with a judges database, created from schools that have historically placed students in All-State, and TMEA members who have judged in the past. Teachers with students entered in the Area process will be expected to be available to judge these contests.

Orchestra Division Minutes February 11, 2016, 5:15 P.M. CC 214 AB The meeting was called to order by Penny Meitz, TMEA Orchestra VicePresident. The minutes from the 2015 Orchestra Division Meeting were read and approved.

Sandra Vandertulip, TODA President, gave the TODA report: The 2016 Convention will be July 21–24. Headliners will be Mark Woods, Bob Gillespie, and Richard Meyer.

In Old Business, Honor Orchestra was discussed. It has been recommended that the zoning of HS Full Honor Orchestra be triggered if there are 15 or more entries.

The wording of this rule will mirror that of MS Honor Orchestra.

All-State Review: The wide range of performance tempos is one cause of the extremely long first judging day. It is suggested that the timing of each excerpt be determined at the slowest posted tempo and increased by 25%. In the event that a recording exceeds that time the monitor will stop the CD and judges will score what they heard, taking into account the performance tempo.

In New Business, Area strings contest was discussed. The Area strings contest requires a huge number of judges. It is proposed that directors who enter students will need to be available to judge Area auditions. The Volunteer Form will be updated. Chairs are asked to have their members fill out the Volunteer Form at their Fall Region Meeting.

Meitz recognized those who had served as contest hosts.

The meeting was adjourned at 5:30 P.M. Respectfully submitted, Jane McCormick, Region 8.

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The UT Arlington Music Industry Studies Program presents the inaugural Audio Production Camp.

Boasting a world-class recording studio, production software and equipment, students will learn recording techniques, equipment selection including microphone choice, post-production techniques such as mixing and editing, MIDI basics, film scoring, and more. Students will have the opportunity to learn from an accomplished faculty and will have the opportunity to record a live ensemble near the end of the week, coming away with a finished recorded product.

2016 TMEA CLINIC/CONVENTION

50 Southwestern Musician | April 2016

More images on page 76

Southwestern Musician | April 2016 51

Nominate Your Students for the Texas Music Scholar Award The TMEA Music Scholar Award recognizes students in high school music programs who exemplify attributes of meritorious performance in the areas of scholarship, musicianship, and citizenship. Designation is attained by TMEA Active Member recommendation of students in grades 9–12 who have met the following criteria during the current school year: • Is a viable member of the school’s parent musical organization for the entire school year.

• Maintains in all cumulative coursework an overall “A” average as defined by the local school district for the current school year.

• Maintains academic eligibility for the entire school year.

• Participates in all scheduled events of the parent organization.

• Attends, as an audience member, two director-approved concert events at the high school, collegiate, or professional level during the school year.

• Has auditioned for, been selected to, and participated as required in a TMEA or ATSSB organization (band, orchestra, or choir).

• Performs a UIL Prescribed Music List Class 1 solo for a competition or public performance.

• Consistently exhibits behavior that brings honor to the parent organization, school, and community.

Go to www.tmea.org/programs/tms to complete and print the application.

The printed form must be signed by the appropriate school officials and must be postmarked by April 30 to qualify.

52 Southwestern Musician | April 2016

B Y

R O B E R T

H O R T O N

VOCAL NOTES

In Memoriam MICHAEL O’HERN September 8, 1958–March 5, 2016

Step up to service

W

April–May—Attend your spring Region meeting (see page 2 for details).

April 1–June 1—Submit proposals online for the 2017 TMEA convention.

April 30—Texas Music Scholar nomination materials postmark deadline.

May—TMEA memberships for 2016–2017 can be renewed online.

May 1—Postmark deadline for 2017 TMEA Convention Performing Choir application and CD. June 30—All 2015–2016 TMEA memberships expire.

July 21–24—TCDA Convention in San Antonio.

August 1—Deadline for waivers to the audition process to be received at TMEA headquarters.

February 8–11, 2017—TMEA Clinic/ Convention in San Antonio.

hen I was a teenager, living with a brother barely two years younger than I, my mom taped a quote to our bathroom mirror from Ralph Waldo Emerson: “There is no limit to what can be accomplished if it doesn’t matter who gets the credit.” I am pretty sure she put that there so we would not argue about who needed to clean the bathroom. I graduated (three times) from a university with the motto, “The Measure of a Life is its Service.” This motto made a profound impact on me, as I have sought to live it out in my professional and personal life. Four years ago, I made a big commitment. I decided that I would continue to serve our profession in any way possible. It’s not that I love moving risers and setting up shells. It’s not that I relish typing articles and wearing a tie at a convention. I just love to serve, I love people, and I love music.

What better way to live out what I believe is my calling than to serve TMEA? I feel tremendous gratitude that you have given me the opportunity to serve you. I am so glad that so many of you feel the same way about service.

If not, we wouldn’t have had the exceptional convention we just experienced.

The Vocal Division had over 70 volunteers who gave of their time to make the convention better for thousands of teachers and students. If you know someone who volunteered, please thank them for giving of themselves for others. I know that we could not function without the servant-leaders in our

There is no limit to what can be accomplished if it doesn’t matter who gets the credit. —Ralph Waldo Emerson Southwestern Musician | April 2016 53

Vocal Division.

For the 2017 convention, I have asked each Region to supply just four volunteers. If we can do that, we will have 132 volunteers for the Vocal Division. As Texas musicians and teachers, we hold ourselves and each other to the highest possible standards of music education.

Can we also serve each other with that same zeal? A friend recently posted on Facebook, “If only everyone in the world were as kind and polite as the employees at Chick-fil-A.” Friends, to a great degree, I believe that we really work for this type of kindness in the world of Texas choral music. I invite you to join in the service of TMEA, as the rewards are so great!

Invited Performing Choirs How do choirs get invited to sing at a TMEA Clinic/Convention? First, directors teach their choirs to the best of their ability. Then, they fill out the application found on www.tmea.org for each choir they want to submit for consideration. Directors choose their best 10–15 minutes of music from the current and previous school year and make a highquality CD for submission. Then, the CD

and application are mailed to the Vocal Chair by the postmark deadline. The Vocal Chair receives the CDs and makes a copy so that the process remains anonymous to the committee who listens to the selections.

The Vocal Chair assembles a committee, usually of previously chosen directors. The committee listens to every CD within each category and individually ranks the recordings. The committee does not know who is on the recording, only the category and entry number (e.g., MS Treble Choir # 17). The Vocal Chair takes the rankings and contacts the highest-ranked choir in each category, based on the number of available performance slots for the year.

The chosen invited choir directors freak out, call friends, post on Facebook, begin shopping for outfits and repertoire selection. For directors whose choirs are not selected, they will receive a letter from the Vocal Chair. I did not do this for the last year, and I apologize for the confusion and angst that was caused. This year, whether selected or not, all will receive notification within a few weeks of the entry deadline.

A few thoughts: I have had people ask me why we don’t follow the Honor Band process of open listening sessions, rankings, etc. I provide the following information as a basis for understanding what we have historically done, and some of the reasons why we have the current invited performing choir process. Although I don’t know which came first, I do know that our process is closely aligned with ACDA. Many of you know that the Band Division has alternating years for their Honor Band invitation. Four or five bands are selected each year, based on school size, and they must declare their intent to enter

by March 1. A detailed description can be found at www.tmea.org/honorbandrules.

For the 2016–17 school year, we anticipate having 12 choirs invited again, representing a variety of voicings and age levels. This opportunity to invite so many and such a variety of performing choirs is unique to the Vocal Division. As for ranking, again, the Band Division has prescribed formulas for how many concert bands advance from each geographic area of the state. One of the obstacles to choral rankings is that it is very difficult to rank a middle school treble choir

Music scholarships available to non-music majors I Faculty who focus on UNDERGRADUATES I National and international ENSEMBLE TOURING I DEGREES in music education, performance,

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

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

trinity.edu/music

think. perform. explore.

54 Southwestern Musician | April 2016

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

4-5 March

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against a university choir. Rather, we try to select groups that are representative of the excellence in the various age levels and voicings of Texas choirs. Also, the Band Division submits recordings from one school year, and the Vocal Division submits recordings from multiple years.

Hopefully, submitting multiple years of choral recordings provides an indicator of consistent quality.

If you are considering submitting, I encourage you to consult with colleagues who have previously led invited choirs at a TMEA Clinic/Convention. I challenge you to let them be honest and candid with their feedback. In the years I considered submitting, I played our recordings for people who counseled me wisely about order of songs and also whether or not to submit. The opportunity to have your students take the journey of preparing a concert for our convention can be lifechanging for you and for them. I know that I have been so inspired and so challenged by hearing many invited performing choir concerts at our convention. Rest assured, colleagues, nothing in this process is unchangeable. It is based on history, philosophy, and viability. We always must consider ways to improve our profession, as music matters so much in the lives of our young people. If you have suggestions for improving the process, please send them to me at vocalvp@tmea.org.

more information on the topics that our attendees have told us they want to learn about, see page 41.

Vocal Division Business Meeting Minutes Grand Hyatt Texas Ballroom February 11, 2016, 5:15 P.M. Vocal Division Vice-President Robert Horton called the meeting to order at 5:15 P.M. The minutes from the 2015 Vocal Division Business meeting were approved as published in the April 2015 SOUTHWESTERN MUSICIAN. Horton reminded everyone that Andy Sealy, current Band Division VicePresident, had been elected as TMEA President-Elect by acclamation at the First General Session.

In old business, Horton recapped the Small School Mixed Choir audition process, and urged everyone to submit their feedback to the Executive Board for consideration this spring.

Horton acknowledged former Vocal Vice-Presidents, Past-Presidents, MS Coordinators, HS Vocal Chairs, Area Chairs, and Host Site Chairs. He also

thanked the All-State organizers and section leaders.

A moment of silence was held for members of the Vocal Division who passed away this year.

Kari Gilbertson, TCDA President, offered a preview of the TCDA summer convention, including a collaboration with TBA to have Eric Whitacre at the convention, and Gilbertson announced the Texas choirs and their conductors who will be performing at the Southwest ACDA Convention in March.

All-State ticket distribution immediately following the Vocal Division meeting was explained and led by Sharon Paul and her team.

Horton urged the membership to attend the Second General Session and their current as well as new Region meetings on Friday.

A motion to adjourn was made and approved.

Sally Schott led the membership in the singing of “The Lord Bless You and Keep You,” and the meeting adjourned at 6:00 P.M. Respectfully submitted, Robert Horton.

Submit a 2017 Clinic Proposal You can now submit a proposal to present a clinic during the 2017 TMEA Clinic/Convention. For more information on what you need to know to submit, and then to submit from April 1–June 1, go to www.tmea.org/clinicproposals. For

Attend Your Spring Region Meeting Times & Locations on Page 2 Southwestern Musician | April 2016 57

Reflections We asked 2016 All-State Students what they learned from their conductor that would continue to influence them. These are just a few of the several hundred responses received. Each underscored the life-changing experiences these young musicians had during our convention. We hope their words serve as a reminder of the important influence every music educator can have on their students every day.

Real change only occurs when we work as a group. Just as musicians listen and balance to the other sections across the choir to make a piece of music as beautiful as it was intended, people must be delicate and considerate toward each other as we all strive to make this world a better place in which to live. –Manna Dellota, Mixed Choir

Gabriel Crouch taught me that music is powerful. It can start revolutions and end wars. He taught me that music transcends all languages, nationalities, and barriers. Mr. Crouch taught me that music can change the world. –Layne Austin Scroggs, Men’s Choir Dr. Quist explained that “every note deserves a journey.” She also taught us that we are strong women and nothing should ever stand in the way of our dreams and passions.–Cynthia Kaniki, Women’s Choir

The thing that was the most inspiring about my conductor was his electric and contagious energy.

Even at the end of our five- to six-hour rehearsal days, he was still jumping around and keeping our attention. Just by being in his presence, I forgot about how tired I was. His inspiring energy, among many other things, made the experience truly unforgettable. –Madison Fanning, Symphonic Band The thing that I believe will influence me the most was Director McKinney telling us to simply do what we love. It gave me an affirmation of what I want to do in the future and inspired me to work even harder in school and on my instrument.

–Shauna Marie Heisler, 5A Symphonic Band One of the things Dr. McKinney taught me is that every moment of a performance is important, even the silence. He reminded us that even when we aren’t playing, we are still performing.–Sarah Duncan, 5A Symphonic Band Everything and everyone is important and deserves to live a life of joy and beauty, whether it be a music note or a teenager like me. Even if it lasts for only an instant, every note should be sung or performed with meaning, and every action and decision I take in life should be done with passion and love, because I can’t take back what time I’ve lost pursuing something other than what I love: music. I must live and enjoy the moment. –Anna Tran Le, Women’s Choir

I learned that staying humble and accepting praise while being able to take criticism is an important key to being successful.–Joslyn Goodloe, Women’s Choir I learned that before I start practicing, I should make a game plan indicating what I aim to accomplish by the end of that session. At the beginning of each rehearsal, Ms. Ahn would always tell us what we accomplished in the previous rehearsal, and what we would try to accomplish in the upcoming rehearsal.

–Christine Marie Abreo, Philharmonic Orchestra

I have learned that a large group of dedicated small-school people can do anything they put their minds to.–Matthew Abbott, Small School Mixed Choir I learned that there is no way to have a mature sound from the entire orchestra unless every single member is watching the conductor and moves exactly together. –Hannah Lei, String Orchestra When playing in an ensemble, play selflessly; don’t take the glory for yourself by increasing your volume. Instead, play your part as the composer intends it to sound together with the rest of the ensemble. That’s what makes great music.–Mariah Barry, ATSSB Concert Band

Dr. Rodde said, “Your voice is more mature today than it was yesterday . . . well think about it, you’re not getting any younger. So you need to wake up every day and ask yourself, ‘What can I do today that I couldn’t do yesterday?’” That question is something we can ask ourselves in regard to every aspect of our lives. This simple speech greatly changed my outlook on life. –Karly Kade Critendon, Mixed Choir Music is more than perfecting small details.

Conveying the lasting tones and themes of composers’ music is what being a musician is all about.–Troy Fulton, Philharmonic Orchestra

Our clinician said that music is not something you do, but a place you go. In one of our songs, “Even When He Is Silent,” we were told to bring the audience to that place of hope, where the poem was written on the wall of a concentration camp. It amazes me that we as musicians connect to the prisoner’s feelings after decades. It amazes me that we can transport the meaning of those words to a crowded hall in San Antonio. The words and feelings remain the same. We have taken the audience and ourselves to that camp to dream of hope. –Ritika Bhattacharjee, Mixed Choir 60 Southwestern Musician | April 2016

The optimism-driven rehearsals led by our conductor resulted in the concert and memories of a lifetime. This year’s convention has persuaded me to pursue music professionally—a decision that I am sure will bring me contentment for the rest of my life.

–Cody Coen, Concert Band

To be vulnerable is a blessing. Making music means making yourself vulnerable. You expose your innermost self through music. You make mistakes, you are judged by your audience and your peers, you have to learn to make adjustments you might not like. But it is also a blessing because it humbles you to accept criticism and reject your faults, thus allowing you to become a freer, better musician, not ruled by overconfidence, pride, or fear. –Mary Theresa Henriquez, Mixed Choir

Ms. Sey Ahn taught us that tutti isn’t just a term pertaining to music; instead, it serves as a definition to show that everyone plays an important role in making a lasting memory.

She helped us understand that as a unified group, we can create something that cannot be done by a single player alone. –Faith Song, Philharmonic Orchestra No matter how hard, how easy, or how frustrating your music is, always enjoy your time working on it. Music isn’t meant to be a frustrating thing; if you’re not having fun doing what you’re doing, then you’re not doing it right. –Anthony Reilly, Concert Band When learning a new piece, being focused and involved with all the musicians around you is more valuable to rehearsal than simply knowing the notes. Our conductor Sey Ahn was wonderful at making our music a social experience.

–Paulina Troung, Philharmonic Orchestra

Larry Livingston taught many things, mostly about love for all, a departure from ignorance, and living life to the fullest. In all of his teachings, music was a commonality. His passion for music has inspired my passion, and I will work hard to continue playing music for the rest of my life.–Matthew Frangos, Symphony Orchestra My conductor showed me that full appreciation of the historical context of a song, be it cultural or personal, is just as important as having good tone and technical prowess. Qualifying for the All-State choir proves to some extent that we have the technical skills, but the true challenge was in connecting to a repertoire that traversed seven different cultures in just seven songs!

–Matthew Paul Cramerus, Men’s Choir Music is a gift that can be shared and enjoyed in a lot of different ways; you should always be thankful every time you get to sit down with your instrument and play with other musicians.

–Emily Frederickson, Concert Band

The orchestra is a team—you have to listen across, be familiar with all parts, and be willing to lead when the melody is yours, balance well when you share it, and back down when it belongs to another section. When the first rehearsal began, I was still in competitive mode from the chair test, so the idea of being a part of a team, changed how I performed in the group. –Jillian Ekstrand, String Orchestra Open my ears and utilize my listening skills so that I can play together with everyone and have a good balance of sound. Communicate with each other in the rhythm section. Really give it all that I possibly have at every single moment, whether it’s practice or a performance. –Isaac Patrick Pulido, Jazz Ensemble I Mr. Gabriel Crouch taught me that singing a song is meaningless unless the singer knows the context behind the song or why the song was written. It is at that point when one can start pouring emotion into every note and rest in the piece. Then, and only then, is a story being told. –Kelly Danley, Men’s Choir

The most important thing, in music as well as every area of life, is kindness and the recognition and acceptance of all humanity.

–Macklyn Hutchison, Symphony Orchestra

Our time on this earth shouldn’t be wasted on thinking about how much money we need to make in order to have a comfortable life. We should do what we love and use our abilities for a common goal. Peace.–Christopher Paul Volpe, Small School Mixed Choir “Music isn’t always math. Sometimes you have to just feel it.” (Michael Haithcock)–Taylor Michael Francis, Symphonic Band Always have at least two goals in mind while rehearsing—one for the ensemble, and one for yourself. This helps improve yourself as a player, creates a common goal for the ensemble, and fosters a positive working environment..–Alex Armstrong, 5A Symphonic Band If you are having trouble deciding what to do with your life and where to go, the easiest place to start is to ask yourself: what are the things in your life that you can’t live without? If one of those things is music, then it may be a sign to you that music is something to strongly consider.–Leann Indolos, Women’s Choir

One thing our conductor said constantly was “trust yourself.” I think that one phrase has really helped me to grow as a musician over the clinic and even today. It made me acknowledge how as a musician, I need to trust myself to perform to the best of my ability instead of worrying whether I will succeed or not.–Ashley Shinliver, 5A Symphonic Band Comments, feedback, a little humor, and a different perspective on how to approach a musical phrase can go a long way to helping someone grow as a musician. –Juan M. Guardiola, Philharmonic Orchestra

Dr. Haithcock taught all of us how to listen, and I believe in a world of looking at tuners, that is something we have forgotten. He began each rehearsal with a 7-note major scale and then did it in rounds. It was a beautiful way of tuning and the most unique one I’ve seen yet.–Daniel Zheyin Bao, Symphonic Band

Ms. Dackow was particular about how one section can influence how another section plays. Sections subconsciously pick up cues from other sections to know when to come in and about style. Music is intertwined, and if you are able to consciously shape your phrases in such a way that it helps other sections, then you have teamwork and you are a real ensemble.–Samantha Liu, String Orchestra

Play like you have nothing to apologize for.

–Tate Shannon, ATSSB Symphonic Band

Gabriel Crouch taught the choir to always strive for improvement. No matter how talented or skilled a musician is, there is always something to improve upon. Our choir aimed for perfection, and with the help of our conductor, we achieved excellence.–Stephen Zheng, Men’s Choir

Making music is the most unifying thing that we are able to do. Regardless of skin color, political views, or religious beliefs, we are all human. We allow others to be moved by our vulnerability and compassion within the piece.–Brianna Parrish, Women’s Choir

I learned that I found my true calling—that I’m definitely going to pursue a music career.

–Esteban Ganem, Symphony Orchestra Music is like a mountain that the director and the choir climbs, and at the top of the mountain is the view that should move us and the audience. Music shouldn’t just be listened to or critiqued; it should move the audience—it should be an experience.–Alyssa Shaw, Small School Mixed Choir

Everything in a piece of music is there for a reason—the composer consciously decided to include it, so it’s important to think about the function of every dynamic, trill, mute, and more, toward the goal of the piece. This attention to detail creates emotion and excitement in the intent of the composer.

–Ginger Hooper, Concert Band Southwestern Musician | April 2016 61

Retention Is Recruiting

by Anne M . Gues s Editor’s Note: While examples in this article are from a choral education perspective, the content in this article is significant for every division.

W

hen our students and their families are pulled in multiple directions, our secondary music programs often suffer. At their age, our students are exploring their varied interests, and given that, we must find effective ways to ensure they remain in our programs. Band director Rich Maher put it this way, “Retention is not a season; it is a lifestyle.” Retention is hard work. It isn’t about a fun event or two; it is about legacy. There are countless ways to build legacy in a music program, but I believe the most basic are to love the children, be a master teacher, and master public relations.

Love the Children Students have a way of shutting down when they think that you don’t like them. Their perception is your reality, and you need to find a way to translate from teenager to adult. Here are a few guidelines I use: Treat students so they know their opinions matter to you. Let them have some input in the program—the theme, costuming, or music. Let them know, gently, that sometimes they don’t get to have input, just as sometimes you don’t.

Find ways to connect with them in their lives outside the music room. If they are in sports, go to their games. If they are in a dance competition, watch them perform. I ask students about football games and other interests. They puff up with pride that I cared enough to ask and that they got to teach their teacher something.

Put yourself in your students’ shoes. Remind yourself how frustrating it was to be a teenager. They are rarely given the benefit of the doubt, and the general public often doesn’t show them respect. Teach them how to be taken seriously and how to be mature. Teach them how to talk with teachers about their grades without getting shot down—that’s a life lesson. Teach them how to be taken seriously by addressing their tone of voice and body language.

Include activities designed for their joy—even if they don’t bring you joy. For example: Talent Show Friday: Students perform any school-appropriate talent for their classmates. They practice performance etiquette and audience etiquette skills. I make it clear that they are to be only positive about classmate performances, creating a supportive environment where students can explore their talents.

Pop Show or Themed Concert: For these performances, I choose a current song and a song from a different era.

This gives them the joy of performing “their music” and exposes them to a new genre.

Extra Socials are a great tool—ice cream socials, end-of-year socials, girls’ night out, boys’ night out, lock-ins. It doesn’t have to be extravagant; it just has to be fun for kids.

Spring Trip done in a way that is appropriate for your program and special for the students can be very unifying.

As you plan the year, take caution, though, not to over-program. When we do too much, students feel like they are missing out on something, whether with you or with their other activities.

Ultimately, it can lead to them feeling they can’t keep up, and they quit.

Many of our students experience many situations where they feel left

n

Become a

Ma s t er

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elations cR i l ub

the Child Love re

Southwestern Musician | April 2016 63

M a st e r P

out and unloved. Make your classroom a safe place. â&#x20AC;˘ Be the model of a bully-free zone and show students how to accept people who are different from themselves. â&#x20AC;˘ Promote random acts of kindness.

Teach students how to spread joy in their school and community. I post notes from students who observed classmates doing nice things for others. I teach students how to give a compliment (many donâ&#x20AC;&#x2122;t actually know how). I tell them that compliments must be true, sincere, and specific, and I also teach that the only appropriate response to a compliment is â&#x20AC;&#x153;thank you.â&#x20AC;? I also took a page from our Language Arts teachersâ&#x20AC;&#x2122; book by having students write a letter to an adult who is meaningful to them, and I ensure delivery of the letters.

â&#x20AC;˘ Always be kinder than you feel because each person is fighting a battle you donâ&#x20AC;&#x2122;t know anything about.

I am taught this repeatedly, and it usually manifests in an emotionally difficult way. How many times have you yelled at a student, only to find out that they are dealing with real pain? Err on the side of caution here; youâ&#x20AC;&#x2122;ll sleep better at night. â&#x20AC;˘ Notice changes in their routines, friendships, and moods. â&#x20AC;˘ Teach them what adults do in tough situations, how to look for the silver lining, and how to meditate on something for which they are thankful.

Become a Master Teacher Master teachers are everywhere around you. Some arenâ&#x20AC;&#x2122;t even in classrooms. Here

is what I have observed about them: Master teachers have a process. They donâ&#x20AC;&#x2122;t overcomplicate things, and they follow the process daily. Routine builds momentum and muscle memory so that you can get to the important business of making music. As author Darren Hardy notes, small things done consistently over time yield great results.

Master teachers steal every idea worth stealing. It neednâ&#x20AC;&#x2122;t be new and flashy, it just has to work. Be courteous and ask permission before stealing. Follow copyright law. If traditional methods arenâ&#x20AC;&#x2122;t working, try something else or ask for advice.

The master teacher is always a work in progress. Know your strengths and know the areas where you struggle. Ask for help.

Try things that work for other master teachers. It may be scary, but the more you do this, the easier it gets. If a new concept

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SCHOLARSHIP AUDITIONS Scholarships are available for both music and non-music majors. These awards are intended to provide recognition for scholarship and talent in the study of music.

For specific qualifications for each award, visit www.tlu.edu/music-scholarships.

SCHOLARSHIP AUDITION DATES: Sunday, April 3, 2016

1:00 to 3:00 p.m.

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

Beth Bronk Director of Bands bbronk@tlu.edu

Shaaron Conoly Director of Vocal Studies sconoly@tlu.edu

Eric Daub Director of Piano Studies edaub@tlu.edu

Eliza Jeffords BACHELOR OF MUSIC IN ALL-LEVEL MUSIC EDUCATION BACHELOR OF MUSIC IN PERFORMANCE BACHELOR OF ARTS IN MUSIC

Director of Strings ejeffords@tlu.edu

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is daunting, admit it to your students.

Remember that real relationship mentioned earlier? It can be learned together.

The master teacher remembers that she or he was also once a beginner. Give yourself and your students a break. Encourage your students to make their mistakes loudly and proudly. I give incentives for students who make the loudest mistakes (that weren’t on purpose), I give incentives for students who own their mistakes, and I give incentives for students who then go on to fix their own mistakes.

Become a Master of Your Public Relations No one can sing your praises if they don’t know about the amazing things going on in your program. Open your doors and let the world in.

Here are a few action items for consideration: Offer your program shirt for sale to your school staff, and if you use shirts as a fundraiser, consider giving them a special staff price. Give your program shirt for free to your building principal, your administrative team, your counseling

If today’s rehearsal was better than yesterday’s, we have been successful, because we look for progress, not perfection.

At the end of the day, a master teacher evaluates the rehearsal objectively. Take time to record yourself, invite a master teacher to observe and give you feedback, or simply just meditate on your rehearsal. Listen to the feedback with an open mind and accept responsibility. Betsy Weber taught me that “everything that happens in a rehearsal is either a product of what you did or of something you allowed to happen.” It is never the students’ fault if something didn’t work. Would they need you if they already knew how to do it? Teach the students who are in your room right now, and make choices that will guarantee success. Remember that taking responsibility means you don’t use anyone’s shortcomings as an excuse—not even your own.

The master teacher spells out success to the students. Don’t neglect how far you have come. Have students evaluate where they started and how far they have come. This helps them shift to an “I can’t do it—yet” mindset. Finding success in even the smallest things helps create a joyful music experience. When things fail in rehearsal, stop and say, “Tell me one positive thing you just did.” It can be anything from “We had great energy and didn’t stop” to “We nailed that tough section.” If today’s rehearsal was better than yesterday’s, we have been successful, because we look for progress, not perfection.

66 Southwestern Musician | April 2016

staff, one or two teachers whom the kids love and talk about, your athletics department, your music supervisor, and anyone who makes your work easier (principal’s secretary, financial secretary, custodians).

If you can’t afford that kind of expenditure, make sure to give one to your building principal, your music supervisor, and your head coaches (boys and girls). Then, have a spirit day and ask everyone to wear their shirts so you can take pictures for the yearbook or for the choir scrapbook. This does two things: builds relationships with the other adults in your life and it makes your program visible and on the minds of the students.

Keep your community and your parents in the know. Invite them to everything you do: concerts, socials, fundraisers, etc.

Invite other teachers and administrators to participate in your socials and have them join you on trips as participants, not chaperons.

Educate your parents and students on what they gain from longevity in the program. I maintain a template for a six-year plan which I customize for any student who asks for it (template is available at www.tmea.org/sixyearplan). I also have a detailed PowerPoint, which I share with parents at every possible opportunity. It covers what we learn related and unrelated to music, the emotional benefits of being in a music program, and why colleges love to give money to long-term musicians. I

also explain to parents that colleges don’t care about their children’s grades as much as they think they might. Colleges assume applicants have good grades. They want to know what else students have done while they maintained those grades. They want to know that students can set goals and commit. For some reason, parents are often shocked when I say this.

Use print and social media to get your name in front of the community. Use this for the big accolades and the small social events. The more often your program is listed in a positive way, the more likely parents will encourage students to try your program. Then you can find a way to keep them.

Give awards and rewards. What is rewarded is repeated. Find ways to reward longevity, good citizenship, or any other trait that you believe is valuable in a choir student. I give awards at the end of the year, but I also like to reward students in an everyday situation with “I love choir” stickers. This is just another way I get my program out in the hallways for other kids to see.

Enlist your students and parents in your task and ask them to advertise for you. Ask them to tell their friends and neighbors. Ask them to send their positive feedback to your administration. I ask them for testimonials and publish them in our concert programs. This gives them ownership.

Ask the parents to trust you, and then spend every moment of the year committed to earning and deserving that trust.

Communicate well, be fair and consistent, and show them you love their child much more than simply being a name on a roster.

At the end of the day, I hope my students know that as much as I care how they sing (and I care about that a lot), I care more about the kinds of people they are becoming. I want them to know, without a doubt, that while they are in my room, they are my children and I am their choir mama.

What do your students know about you? What legacy will follow you throughout your career? I encourage you to love the children, master the teaching, and then shout it from the mountaintop.

Anne M. Guess is Head Choir Director at WoodCreek Junior High in Katy ISD.

2016 Horned Frog

All-State Choir Camp

Thank You for Attending!

We hope this issue reminds you of the excitement of exploring new facilities, the joy of reconnecting with colleagues and friends, and the pride of witnessing music educators and students sharing the very best of themselves. â&#x20AC;&#x201D;TMEA Staff & Executive Board

68 Southwestern Musician | April 2016

Questions?

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B Y

J U L I

ELEMENTARY NOTES

S A L Z M A N

Wanted: A few good teachers

T

April–May—Attend your spring Region meeting (see page 2 for details).

April 1–June 1—Submit clinic proposals online for the 2017 TMEA convention.

May—TMEA memberships for 2016–2017 can be renewed online.

June 9–10—CEDFA Summit XVII, Austin Airport Hilton.

June 15—Postmark deadline for 2017 TMEA Convention Performing Group application and DVD. June 30—All 2015–2016 TMEA memberships expire.

July 21–24—TCDA Convention in San Antonio.

February 8–11, 2017—TMEA Clinic/ Convention in San Antonio.

he mission of the Center for Educational Development in Fine Arts (CEDFA) is to “promote student achievement by providing professional development opportunities based on state and national standards in art, dance, music, and theatre.”

Each summer, fine arts teachers gather in Austin at the beginning of June for the annual Fine Arts Summit. If you have never attended one of these summits, you are missing out on a great professional development opportunity.

This year, Summit XVII will be held June 9–10 at the Austin Airport Hilton. The focus will be on outstanding case studies from throughout the state of Texas. This is where you come in. There are categories where we need to obtain great lesson plan ideas. These ideas will be available for all participants and the most outstanding ones will be showcased at the conference. If you have an effective lesson in one of the areas listed on the table on page 72, please email me at julis@angletonisd.net so I may send you the format needed to submit your idea.

When we share our best ideas with colleagues, music education across our state improves, and RXU VWXGHQWV DUH WKH XOWLPDWH EHQHÀFLDULHV Southwestern Musician | April 2016 71

TMEA Clinic/Convention in Review The 2016 TMEA Clinic/Convention proved once again to inspire all of the teachers and administrators who attended.

From the activity-packed workshops to the unforgettable performing groups, this year’s convention was a motivational success.

The invited clinicians, Sue Mueller and Lamar Robertson, were inspirational, and our invited Texas Clinician, Mary Neely Stevens, was outstanding. All eight performing groups were amazing!

Room assistants, office staff, Region Chairs, and volunteers did a superb job of bringing us the very best that the TMEA convention has to offer. There were a record number of attendees at the Elementary Business Meeting and numerous valuable door prizes were awarded.

Kudos to all who made this year’s convention a success!

CEDFA Summit Lesson Plan Categories

New Program on the Horizon At our convention, an Elementary Division committee was formed for a new recognition system for elementary music programs. The members of the committee will be meeting this summer to establish the criteria required to receive this award. With the Student Engagement Accountability rating for Fine Arts required by HB 5, this award will hopefully become a recognized standard for outstanding music programs in elementary schools.

Instructional Pathways to Personalized Learning in the Fine Arts

Technology Infusion for the Fine Arts Classroom

Design Thinking Across the Arts, and in the Real World

Project-Based Learning (PBL) in the Fine Arts

At-risk

Apps

Projects

Relevance

New TEKS

Devices

New TEKS

Rigor

Gifted and talented

Hardware

Lesson design

Embedded assessment

Twice-exceptional (intellectually gifted children who have some form of disability)

Instructional strategies

Originality and creativity

Ongoing assessment

English language learners (ELLs)

Projects/research

Students curating their own work

Project-based learning

Pre-assessment strategies

Digital citizenship

Life and career skills

Lesson redesign

Motivation

Production

STEAM

Connections to TEKS and 21st-century learning

Personalized instruction using technological tools

21st-century skills and technology

Personalized instruction using technological tools

Reflection

Instructional strategies

Technology and fine arts TEKS

Student designed instruction

Extension

Thank You, Elementary Division Volunteers!

Our convention was an incredible success because of the amazing work of members who gave their time to ensure everyone had the best possible H[SHULHQFH Our thanks go to everyone who volunteered!

72 Southwestern Musician | April 2016

COMMITTED TO YOUR SUCCESS ... for life A dynamic, collaborative community of artists, scholars, and teachers

TTU at TMEA 2016 5 featured ensembles Elegant Savages Orchestra - Marimba Ensemble - Mirasol Quartet - Trumpet Choir - University Choir 12 presentations at research poster session - 11 clinics presented by students and faculty TexASTA Phyllis Young 2015 Studio Teacher of the Year Award: John H. Gilbert, violin

www.music.ttu.edu

/ttuschoolofmusic /

/ttuschoolofmusic

2016 SUMMER MUSIC CAMP SERIES Texas Summer Flute Symposium Sunday, June 12th - Friday, June 17th Dr. Julee Kim Walker Texas A&M University-Commerce Sarah Jackson Los Angeles Philharmonic Conor Nelson Bowling Green State University

Leadership, Drum Major & Colorguard Camp Sunday, June 19th – Thursday, June 23rd Frank Troyka Conn–Selmer Inc., System Blue Education Koji Mori Lassiter HS, GA, BOA Drum Major Institute Lauren Potter Texas A&M University-Commerce

Blast of Brass Sunday, July 10th – Saturday, July 16th

All State Choir Camp Wednesday, July 6th – Saturday, July 9th Dr. Randall Hooper Texas A&M University-Commerce Cathy Koziatek Lovejoy HS Tara Sikon Creekview High School Joshua McGuire Sachse High School Ryan Forkner North Mesquite High School

Texas Vocal Arts Workshop Wednesday, July 24th – Saturday, July 30th Dr. Jennifer Glidden Texas A&M University-Commerce Dr. Corey Trahen Northwestern University William Applewhite Northwestern University, Strauss Theatre

Clinic Proposals for the 2017 Convention The time to begin working on a proposal for the 2017 convention is now.

Submit proposals online April 1–June 1 at www.tmea.org/clinicproposals. Be sure to include thorough details of what will be presented and go to that webpage to be sure you understand all of the data that you will need to include to ensure your submission is complete. As you consider your topic, keep in mind some of the most requested topics (for more information, go to page 41).

Elementary teaching methods Technology integration Classroom management Rehearsal techniques Special needs instruction Repertoire selection Urban/rural challenges and solutions

Salzman recognized and thanked invited clinicians, Region Chairs, the Elementary Reception Committee, room assistants, invited choirs and ensembles, and past TMEA Elementary VicePresidents for their assistance in making the 2016 TMEA Clinic/Convention a success. Salzman recognized and thanked the 2016 sustaining members (vendors) and all who donated the record-breaking number of door prizes. The reception committee, chaired by Brian Halverson, was recognized for their outstand-

ing efforts in securing, collecting, and awarding door prizes for the Elementary Division Meeting.

TCDA Elementary Vice-President Michele Hobizal discussed the highlights of the upcoming TCDA Convention, July 21–24, including the Elementary Honor Choir that will perform on July 23.

Salzman introduced guest clinician Steve Campbell, from Dancing Drum, who led the members in singing and drumming. Door prizes were awarded and the meeting was adjourned at 6:30 P.M.

Apply to Perform at the 2017 TMEA Clinic/Convention Once again we are asking that you submit a DVD of your choir or instrumental ensemble for an opportunity to perform at the 2017 TMEA Clinic/Convention.

We will continue to have categories for auditioned and non-auditioned school choirs, district or city honor choirs, and instrumental and Orff ensembles. The selection committee will be listening for choirs that perform with lovely head voices, proper diction, and excellent pitch matching. Instrumental ensembles should have outstanding technique, appropriate tempos, and accurate rhythms. The deadline to apply is June 15. To apply, go to www.tmea.org/elementaryapplication.

Elementary Business Meeting Minutes Hemisfair Ballroom 1 February 11, 2016, 5:15 P.M. Juli Salzman, TMEA Elementary VicePresident, called the meeting to order.

The minutes from last year’s Elementary Division business meeting were approved as printed in the April 2015 issue of SOUTHWESTERN MUSICIAN.

Find the Next Workshop in your Area: www.tmea.org/workshops Southwestern Musician | April 2016 75

2016 TMEA CLINIC/CONVENTION

76 Southwestern Musician | April 2016

Southwestern Musician | April 2016 77

COLLEGE NOTES

B Y

S I

M I L L I C A N

In Memoriam R ALPH MILLS A PRIL 5, 1922–M ARCH 8, 2016

Making connections

C

ongratulations to the many people involved in making the 2016 TMEA Clinic/Convention quite literally bigger and better than ever. The Executive Board and TMEA staff worked diligently behind the scenes negotiating the many unknowns of the new convention center layout to create an outstanding professional development experience for almost 11,000 music teachers and nearly 4,000 college students.

For me, one of the highlights of our gathering each year is catching up with friends, colleagues, and the teachers, students, and classmates I’ve gotten to know through my involvement with music over the years. The new space at the Henry B. Gonzalez Convention Center provided inviting areas to do just that. From the comfy lounge areas in the main entry to the retro seating pods spaced along the hallway between the Lila Cockrell Theater and registration area, I watched as people took time to stop, visit, and reconnect.

Reconnecting with friends and colleagues alike should remind us that what we do as music teachers is important. We get to engage in music-making and learning daily with our students, and we can foster relationships that can last for decades. I hope you’ll help your students realize that the relationships they will build in their classrooms are powerful and lasting and will endure far beyond ratings, trophies, and accolades.

Reconnecting with friends and colleagues alike should remind us that what we do as music WHDFKHUV LV LPSRUWDQW 78 Southwestern Musician | April 2016

April/May—Attend your spring Region meeting (see page 2 for details).

April–June 1—Submit proposals for the 2017 TMEA convention.

May—TMEA memberships for 2016–2017 may be renewed online.

June 30—All 2015–2016 TMEA memberships expire.

October 7—College Division Fall Conference.

February 8–11, 2017—TMEA Clinic/ Convention in San Antonio.

Graduate Studies in Music Education

Summer 2016

JUNE 19 - JUNE 24

MAY 31 - JUNE 2 West Texas Kodály Initiative Graduate Credit Available Dr. Susan Brumfield 8 AM – 8 PM (L)

JUNE 7 - JULY 9 Applications of Technology in Music Education MUSI 5342.D Dr. Keith Dye Distance Only (asynchronous) (O)

JUNE 6 - JUNE 17 Strings for the Non-String Player MUED 5344.001 Prof. Blair Williams 8 AM – Noon (L) Harmony & Voice Leading with AP Primer MUTH 5300.001 Dr. Peter Fischer 8 AM – Noon (L) Qualitative Research Methods MUED 5344.002 Dr. Carolyn Cruse 8 AM – Noon (L/V) Learning & Music MUED 5332.001 Dr. Janice Killian 1 PM – 5 PM (L/V) Globalization & Music Education: Incorporating World Music MUED 5344.003 Dr. Jacqueline Henninger 1 PM – 5 PM (L) Band Conducting Methods I: Strategies & Techniques MUAP 5310.001 Dr. Eric Allen 1 PM – 5 PM (L)

JULY 12 - AUG 12

Choral Conducting & Comprehensive Musicianship MUAP 5308.001 Prof. Rick Bjella 8 AM – 8 PM (L)

Advanced Applications of Technology in Music Education MUSI 5345.D Dr. Keith Dye Distance Only (asynchronous) (O)

JUNE 20 - JULY 1

Graduate Music History Review MUHL 5300.D Dr. Stacey Jocoy Distance Only (asynchronous) (O)

Foundations in Music Education MUED 5340.001 Dr. Keith Dye 8 AM – Noon (L/V) Tests & Measurements MUED 5333.001 Dr. Janice Killian 8 AM – Noon (L/V) Topics in Band Music Education: Current Research, Principles & Practices MUED 5326.001 Dr. Jacqueline Henninger 8 AM – Noon (L) Topics in Orchestral Music Education: School Orchestra Literature MUED 5327.001 Prof. Blair Williams 1 PM – 5 PM (L) Topics in Band Music Education II: Repertoire & Trends MUED 5326.002 Dr. Eric Allen 1 PM – 5 PM (L/V)

L = Live V = Videoconference O = Online Only

Symphonic Literature MUHL 5311.D Dr. Thomas Cimarusti Distance Only (asynchronous) (O)

JULY 11- JULY 22 Teaching College: Strategies and Best Practices MUSI 7000.001 Dr. Keith Dye 8 AM – Noon (L/V) Music for Students with Exceptionalities (online July 6; residency July 11-15) MUED 5306.001 Dr. Janice Killian 8 AM – Noon (L/V) Styles in Wind Literature of the 19th & 20th Centuries MUTH 5320.001 Dr. Peter Martens 1 PM – 5 PM (L/V) Choral Pedagogy: Voice-Building in the Choral Rehearsal (July 11-19) MUED 5325.001 Dr. Carolyn Cruse 1 PM – 5 PM (L)

Intensive Music Education Courses as Brief as 2 Weeks (plus online components) For more information, visit www.music.ttu.edu, or contact: Dr. Michael Stoune, Director, Graduate Studies Dr. Janice Killian, Chair, Music Education Emily Gifford, School of Music Graduate Admissions

michael.stoune@ttu.edu janice.killian@ttu.edu emily.gifford@ttu.edu

(806) 834-5160 (806) 834-2010 (806) 834-5076

Tuition SCHOLARSHIPS AVAILABLE for new & returning MMED students. Details: keith.dye@ttu.edu

2016 Clinic/Convention Recap Thanks to the guidance and leadership of Michele Henry and the TMEA Executive Board, the College Division experienced a wave of exciting changes over the past two years, culminating with the 2016 Clinic/Convention. In addition to new and more spacious accommodations for our clinic sessions and meetings, Texas colleges were invited for the first time to have a continual presence in the main exhibit hall throughout the week.

As with any new venture, we experienced a few growing pains with the new convention center layout and schedule, and I invite you to email me any feedback on improving your clinic/convention experience (si.millican@utsa.edu).

Looking Ahead In the next few months, I hope you can continue to make connections through participation in upcoming College Division events. I invite you to join other faculty colleagues in Austin on Friday, October 7, for our College Division Fall Conference. My predecessors in the College Division have helped this session evolve into a fruitful, actionoriented event. Whether your institution is large or small, public or private, two- or four-year, you can find colleagues within our College Division family to serve as sounding boards for issues that challenge our profession.

Additionally, please consider connecting with other college faculty by serving on one or more of the committees in our division. The Keyboard, Twoyear College, Research, and Inclusion Committees have been particularly active.

As of press time, the College Student Advisory Committee is in search of a chairperson. If you’d like to serve on that committee or any of the College Division committees, please let me know.

As we prepare for the 2017 Clinic/ Convention, please consider proposing a session and invite your colleagues to do the same. Popular topics include teaching methods, rehearsal techniques, repertoire selection, classroom management, and working with students with special needs.

Proposals can be submitted online April 1– June 1 at www.tmea.org/clinicproposals.

Also learn more on page 41.

I also hope that you and your graduate students will consider sharing the fruits

of your research activities in our Research Poster Session. Selected proposals from the pool of accepted poster presentations will be eligible for publication in Texas Music Education Research which is the official research journal of the College Division. This publication is available online and is a fully indexed research periodical. Email your poster session proposal to Amy Simmons at amy.simmons@ txstate.edu any time before October 15.

College Division Business Meeting Minutes, CC 310 February 11, 2016, 5:15 P.M. The meeting was called to order

by College Division Vice-President Michele Henry. Division members present introduced themselves. The minutes from the 2015 College Division Fall Conference were approved as printed in the SOUTHWESTERN MUSICIAN. An election was held for the 2016–2018 College Division Vice-President. Having gone

MUSIC AT OLLU SPRING AUDITION DATES: Saturday, May 7, 2016

OUR LADY OF THE LAKE UNIVERSITY OFFERS: Bachelor of Music Minor in Music

THE PROGRAM EMPHASIZES: Choral conducting Music ministry Mexican-American music Ethnomusicology Music theory Music history Music technology Performance study

APPLICATION AND SCHOLARSHIP AUDITION DAYS The OLLU Music Department will hold application and scholarship audition days on May 7, 2016.

To apply for an audition: 1. Apply to Our Lady of the Lake University at www.ollusa.edu/ Apply 2. Request a Music Program Application packet from Dr. Elizabeth Dyer, Music Department Head 3. Prepare your audition according to the provided guideline 4. Contact Dr. Dyer (email preferred to request an audition time)

Dr. Elizabeth Dyer • 210-528-7082 • edyer@ollusa.edu • 200B Fine Arts Building www.ollusa.edu/MusicDept Southwestern Musician | April 2016 81

through the nomination process at the fall Region meetings, Si Millican from UT/ San Antonio was the sole nominee and was elected by acclamation.

Vice-President Henry shared several convention announcements from College Division: • The featured clinicians were Stephen Demorest from Northwestern Univ and Alice-Ann Darrow from Florida State Univ.

• The College Fair had approximately 120 participants, with nearly 70 choosing to participate for all three days of the exhibit show.

• Congratulations were extended to past College Division Vice-President Keith Dye on his tenure as TMEA President.

Committee reports were offered by the Keyboard Committee by Carla Cash, Two-year College Committee by Kathy Mayer, the Research Committee by Amy Simmons, the Inclusion Committee by Judith Jellison, and the Article Review Committee by Don Taylor. The Collegiate Student Advisory Committee deferred their report until later in the meeting.

Don Taylor presented certificates to the winners of the 2016 TMEA Essay Contest. Winners were the following. Graduate: 1st place, Justin West (Univ of North Texas); 2nd place, Katie Richardson (Texas Christian Univ); 3rd place, Haley Woodrow (Texas Christian Univ); Undergraduate: 1st place, Trevor Rybicki (Baylor Univ); 2nd place, Lacy Smith (Univ of North Texas).

Michele Henry presented certificates to the winners of the 2016 TMEA Composition Contest. Winners were: Best-in-Class/Band, Haley Woodrow (Texas Christian Univ); Best-in-Class/ Choral, Evan Ramos (Southern Methodist Univ); Best-in-Show, Benjamin Kean (Univ of North Texas). Kean’s composition “Dear Old Stockholm” was played

for those in attendance.

A proposal for a Collegiate Music Education Award was presented for discussion. With minor revisions for labeling of major to be more inclusive, the proposal was unanimously accepted by the division. It will be forwarded to the TMEA Executive Board for consideration.

Vice-President Henry brought an update on the status of the definition of field supervisor in the Texas Administrative Code. After some discussion, consensus was reached that the suggested revised language is an improvement over the current language.

No new business was brought forward, and the meeting was adjourned at 6:00 P.M. Respectfully submitted by Michele Henry.

Submit a Proposal for the 2017 Convention!

It’s time to submit proposals for clinics and music showcases for the 2017 convention. Start working now to create a thorough proposal and submit it online by June 1.

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Southwestern Musician | April 2016 83

SCHOOL of MUSIC

MER MUSIC CA M U S M 16

20 In the Heart of Nashville PS BELMONT UNIVERSITY’S SCHOOL OF MUSIC SUMMER CAMPS FOR WINDS, PERCUSSION, STRINGS, PIANO AND VOCALISTS.

STRING CROSSINGS CAMP

BELMONT PIANO CAMP

June 12–17 for Grades 9–12

June 19–24 for Grades 9–12

• For Violin, Viola, Cello and Double Bass

• Study Classical or Jazz Piano

• Study Multiple Styles including Classical, Swing, Celtic, Rock, Jazz and Bluegrass

• Classes in Music Theory, Sight-Reading, Technique and Improvisation

• String Orchestra and Small Group Opportunities Available

SUMMER VOCAL ARTS INTENSIVE

SUMMER WINDS BAND CAMP June 19–25 for Grades 9–12 • For Woodwinds, Brass and Percussion • Study Classical and Jazz Styles • Ensemble Opportunities include Wind Ensemble, Jazz Ensemble and Chamber Music

June 26–July 2 for Grades 9–12 • Solo, Ensemble and Choral Singing Experiences • Masterclasses in Classical, Jazz, Musical Theater and Contemporary Styles • Elective Classes in Conducting, Music Technology, Audition Tips, Scat Singing and more

TMEA Membership and Convention Report Membership

2009

2010

2011

2012

2013

2014

2015

2016

10,799

10,972

11,099

10,615

11,007

11,779

11,979

12,739

564

552

545

599

622

720

748

875

75

71

78

76

75

88

66

65

3,066

3,217

3,457

3,495

3,397

3,627

3,835

4,232

591

511

525

568

539

549

571

582

15,095

15,323

15,704

15,353

15,640

16,763

17,199

18,493

2009

2010

2011

2012

2013

2014

2015

2016

9,263

9,102

9,120

8,417

8,780

9,245

9,680

10,259

359

412

414

594

468

495

525

576

34

54

57

54

62

52

50

50

College Students

2,703

3,016

3,128

3,170

3,074

3,290

3,535

3,796

Exhibitors/Sustaining

2,170

2,217

2,159

2,287

2,358

2,510

2,509

2,819

289

418

531

590

314

596

661

795

All-State Students

1,590

1,586

1,596

1,593

1,587

1,644

1,748

1,750

Participants

2,979

2,703

2,642

2,452

2,611

2,910

2,559

2,776

Active Retired Institutional College Students Sustaining Total

Convention Attendees Active Retired Institutional

Texas Future Music Educators*

Out-of-State Attendees Visitors/Family/Chaperons Total

264

187

223

226

271

294

292

310

6,174

6,281

6,470

5,882

5,119

5,680

5,197

6,150

25,825

26,045

26,340

25,265

24,644

26,716

26,756

29,281

2016 Convention Meeting Minutes TMEA STATE BOARD MEETING Wednesday, Feb. 10, 2016, 5:30 P.M. Marriott Riverwalk Hotel, San Antonio A buffet dinner was served, after which President-Elect Dinah Menger delivered the invocation. President Keith Dye called the meeting to order at 5:54 P.M. The following members were present: Executive Board and Staff: Keith Dye, President Janwin Overstreet-Goode, Past-President Dinah Menger, President-Elect Michele Henry, College Division Vice-President Robert Floyd, Executive Director Kay Vanlandingham, Administrative Director State Board: Region 1: Ginger Denney, Rebecca Carter (proxy), Carolyn Terrell Region 2: Ron Chapman, Alex Carr, Karen Brunker Region 3: Jeff Jones, Margaret Wis Region 4: Jan Blize Region 5: Michael Dean Region 6: Jeffrey Whitaker Region 7: Joe McGee, Mark Eastin, Dianne Babcock Region 8: Darrell Umhoefer, Scott Dudley Region 9: Gabe Musella

Region 10: Greg Rose Region 11: James Hare, Daniel Lugo, Wanetta Hill Region 12: Beth Bronk, Ed Gonzales Region 13: Greg Countryman (proxy), Rhonda Klutts Region 14: David Edge, Dennis Richardson Region 15: Jason Rogers (proxy) Region 16: Tom SoRelle, Cara Nazier, Rachel Konemann Region 17: Greg Dick, Beth Casey (proxy) Region 18: David Beussman Region 19: Gary Hebert, Daniel Ponce Region 20: Reagan Brumley Region 21: Denny Whitley, Louis Robinett Region 22: Timothy Andrade, Arturo Uribe Region 23: Damon Archer Region 24: Pete Hazzard, Brian Murray Region 25: Evelio Villarreal Region 26: Jack Green Region 27: Bingiee Shiu, Brian Drake, Sharon Paul Region 28: Shane Shinsato, Denise Pitcock UIL State Director of Music Bradley Kent reported that TSSEC will be held May 28â&#x20AC;&#x201C;30. The 5A/6A Contest (all events except percussion) will be held at UT/Austin. The 5A/6A percussion contest will be held at Connally HS in Pflugerville. Kent also reported that the rewrite of the music portion of the Constitution and Contest Rules (C & CR) has been Southwestern Musician | April 2016 85

completed and the revised document may be found on the UIL website.

Executive Director Robert Floyd reported that as of 11:00 A.M. on February 10, TMEA Active membership stood at 12,034, Retired membership at 765, College membership at 2,870, with convention preregistration at 12,797. The new exhibit hall space will host 1,312 booths, with 538 companies represented.

The convention will open with the First General Session at 8:30 A.M. on Thursday in Lila Cockrell Theater with Larry Livingston delivering the keynote address. The Second General Session on Friday morning will spotlight the combined All-State Choir, Band, and Orchestra; the presentation of Distinguished Service Awards to Barbara Cargill and Thomas Ratliff, and Tod Machoverâ&#x20AC;&#x2122;s keynote address.

The Presidentâ&#x20AC;&#x2122;s Concert featuring the Canadian Brass is a sell-out. This concert is sponsored by Conn-Selmer, Inc., and all proceeds will go to the TMEA Scholarship Fund.

For the first time in TMEA history in-state colleges/universities have been given an opportunity to exhibit in the main exhibit hall for all three days of the exhibit show. There will be 28 in-state and 39 out-of-state colleges/universities that will exhibit the duration of the convention and 26 in-state and 27 out-of-state schools that have elected to participate only on Friday.

Financial/Investments: Total value $5,352,791. Executive Director Floyd reported this has been a rough time for investments. We have 53% in fixed investments (bonds of all types: medium and short-term), 37% in U.S. stocks, and 10% in foreign stocks. For 13 months, stocks down 8%, aggregate bonds up .18%, TMEA overall down 5%. We have to look at the long-term picture: TMEA investments over the past 21 years have bought us two buildings and supported giving approximately $1.4 million in elementary and middle school grants.

Executive Director Floyd provided Region Presidents with talking points for the old and new Region meetings. He instructed the acting Presidents not to get bogged down in the small details, but to ensure that Steering Committee positions are filled either by officers who will remain in the Region or through elections for interim officers until official representatives are elected at the spring Region meetings.

Floyd reminded those present of the recently implemented changes to the Region financial reporting process. He also informed them that failure to submit a financial report might trigger a Region audit.

During the First General Session the membership will vote on minor revisions to the TMEA Constitution, as posted on the TMEA website. The proposed changes are minor tweaks as a result of the recent Region/Area Realignment that increased the number of Regions from 28 to 33.

Two grievances have been filed this year, resulting in a Level-One and a Level-Two penalty.

Floyd presented a brief report on State Board of Education, TEA, and legislative updates: With the legislature not meeting again for almost 11 months, all incumbents are focusing on getting reelected and defeating new challengers. Floyd encouraged members to get involved in primaries; come to a clinic Friday at 1:00 P.M. for more information, to be teamed by Floyd, our two lobbyists, Matt Matthews and Michelle Smith, and Kelsey Kling from the Texas Education Agency. Floyd reminded board members to familiarize themselves with Music Education in the Law tool in the January magazine and on website. He shared that he had briefly met Mike Morath, the new commissioner of education and had no reason to believe he would not be supportive of arts education as a part of a well-rounded education.

Administrative Director Kay Vanlandingham reported that the student membership of Texas Future Music Educators has grown to 1,056 student members, with 842 preregistered for convention. Vanlandingham added 86 Southwestern Musician | April 2016

that 2,048 students from 262 high schools were honored as Texas Music Scholars last year. The entry deadline for TMS is May 1.

The meeting was suspended, to be continued Saturday, February 13, at 9:30 A.M. TMEA STATE BOARD MEETING Saturday, February 13, 2016, 9:30 A.M. CC Room 224 President Keith Dye called the meeting to order at 9:33 A.M. The following members were present: Executive Board and Staff: Keith Dye, President Janwin Overstreet-Goode, Past-President Dinah Menger, President-Elect Andy Sealy, Band Vice-President Robert Floyd, Executive Director Frank Coachman, Deputy Director Kay Vanlandingham, Administrative Director State Board: Region 1: Ginger Denney, Carolyn Terrell Region 2: Ron Chapmen Region 3: Region 4: Jan Blize Region 5: Michael Dean Region 6: Steven Dojahn Region 7: Dianne Babcock Region 8: Darrell Umhoefer, Scott Dudley, Deborah Barrick Region 9: Gabe Musella, Dana Pradervand Region 10: Greg Rose Region 11: James Hare, Daniel Lugo Region 12: Beth Bronk Region 13: Reece Nagai Region 14: David Edge, Dennis Richardson Region 15: Jim Egger Region 16: Tom SoRelle Region 17: Greg Dick, William Few Region 18: David Beussman Region 19: Gary Hebert Region 20: Region 21: Denny Whitley Region 22: Region 23: R. Michael Hardy Region 24: Pete Hazzard Region 25: Region 26: Region 27: Brian Drake, Sharon Paul Region 28: Michael Corcoran, Shane Shinsato, Denise Pitcock Convention Report: Executive Director Robert Floyd announced that by all indications membership and convention attendance has exceeded all previous years. The new on-demand badge printing process was extremely successful. Data shows that at one point during registration 749 badges were printed within a 30-minute window and more than 14,700 badges have been printed on-site.

The report for College Fair has been positive. The in-state universities that participated in the three-day event, inside the Exhibit Hall were

pleased.

Attendees and exhibitors were excited to be in the new convention center areas and seem to be enjoying the new space. Floyd reported that the staff is already discussing how they can better utilize the space for the 2017 convention.

The Executive Board has discussed putting an emphasis on how to meet the needs of the changing student population for the 2017 convention. President-Elect Dinah Menger said this focus will have a direct impact on the offerings of next year’s convention.

Region Reports: Region 1: Thanked the Executive Board and TMEA staff for hosting another great conference.

Region 4: Vocal division expressed a concern that they were losing 25% of their population without gaining any new schools from the realignment.

Also, requested further clarification regarding the sightreading portion of the audition process.

Region 8: Commended the staff for another great conference.

Region 9: Inquired as to whether TMEA should begin scanning badges for clinic and concerts as documentation for CPE Credit. Deputy Director Frank Coachman assured Musella that if that is the directive of the State Board the staff would implement that process. Coachman further explained that implementation would require additional staffing and funding.

Region 12: Expressed thanks to the TMEA leadership in producing a wonderful convention.

Region 15: Commended the TMEA Executive Board and staff for a great convention. Added that a superintendent from Region 15 had served as a member of the Advisory Board and was very impressed with what she had seen.

Region 16: Thanked the Executive Board and all others who worked on the Region/Area Realignment process for their thoughtfulness and attention to detail.

Region 17: Expressed disappointment in losing Pearland ISD in the new realignment.

Region 21: Voiced positive responses from Vocal Division regarding the All-State Small School Mixed Choir.

Region 22: Thanked TMEA leadership for their work on Region/Area Realignment. Requested information about apportionment. Deputy Director Coachman responded that Regions would be provided information regarding apportionment following the March Executive Board Meeting.

Region 28: Expressed concerns about apportionment associated with the new Region/Area realignment and how it will affect Region 28.

The meeting was adjourned at 10:10 A.M. First General Session Lila Cockrell Theater, San Antonio, Texas Thursday, February 11, 2016, 8:30 A.M. President Keith Dye called the First General Session of the TMEA 2016 Annual Clinic/Convention to order at 8:32 A.M. and introduced the members of the Executive Board and staff in attendance.

Andy Sealy was recognized as the official candidate for the office of President-Elect. There being no additional nominations from the floor, nominations were closed. Jo Scurlock-Dillard moved that Andy Sealy be elected by acclamation. Motion passed.

Adam Frame, chair of the Agenda Committee, thanked his committee members and reported there were no items in the Agenda Box.

88 Southwestern Musician | April 2016

Four high school students were recognized as 2016–2017 TMEA multiyear scholarship winners: • Felicity Fulton, a student from Lorena HS, was presented the Bill Cormack Scholarship • Sheridyn Johnston, from Silsbee HS, was recognized as the PastPresidents Scholarship recipient • The Past-Presidents Memorial Scholarship was presented to Jessica Harper, a student from Hebron HS • Mary Williams, from Langham Creek HS, was presented with the Executive Board Scholarship The other TMEA scholarship winners, past and present were recognized in the audience. TMEA will award $180,000 this year in scholarships to current and future music educators.

Rachel Forester, member of the TMEA Public Relations Committee reported that the 2015 SAT National Average is 1,490. The 2015 SAT Texas Average is 1,410. The TMEA All-State Overall Average is 1,803.

Jeff Laird moved that the recommended revisions to the TMEA Constitution, as posted on the website, be adopted. The motion passed.

Renowned conductor, educator, and motivational speaker, Larry Livingston, delivered the inspiring message, “Music education should be for all students.”

There being no further business, President Dye declared the meeting adjourned at 9:30 A.M. Second General Session Lila Cockrell Theater, San Antonio, Texas Friday, February 12, 2016, 8:30 A.M. Past-President Janwin Overstreet-Goode introduced President Keith Dye who then conducted the 2016 combined All-State Symphonic Band, Symphony Orchestra, and Mixed Choir in performing the national anthem and America, the Beautiful.

President Dye called the meeting to order at 8:43 A.M. Administrative Director Kay Vanlandingham read the minutes of the First General Session held on February 11, 2016. The minutes were approved as read.

President Dye recognized TMEA Past-Presidents and Advisory Committee members in the audience.

The Distinguished Service Award was presented to State Board Members Barbara Cargill and Thomas Ratliff. Both Cargill and Ratliff shared personal experiences of how fine arts education has positively affected the lives of their family members and the importance of fine arts in the public schools.

Dr. Tod Machover delivered the keynote address and shared examples of what is possible when technology partners with music creation.

President Dye presented the outgoing Executive Board members plaques in appreciation of their years of service to TMEA: Andy Sealy, Band Division Vice-President and Michele Henry, College Division Vice-President.

President Dye expressed gratitude to Janwin Overstreet-Goode, outgoing Past-President and introduced President-Elect Dinah Menger who presented Dye with the Past-President’s plaque and pin.

Menger reported the following divisional Vice-President election results: Joe Muñoz, Band Division and Si Millican, College Division.

There being no further business, the meeting was adjourned at 9:58 A.M. Respectfully submitted, Kay Vanlandingham, Administrative Director.

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