August 2014 Southwestern Musician

AUGUST 2014

with Row-Loff’s Snare Drummer’s Toolbox and Mallet Player’s Toolbox.

For more info and video excerpts, go to:

Item #1024

Item #1021

■ Over 3 hours of DVD Instruction ■ Play-Along Trax & Groove Trax ■ Accessory Percussion Video Tutorials ■ Over 40 pages of additional PDF materials ■ Integrated Solos & Duets for Snare & Mallets

A collection of 8 entertaining Boomwhacker® ensembles (Grades II-III) Add these to your collection of 'Sicles packages from Row-Loff!

Hear them all at www.RowLoff.com Be on the lookout for Row-Loff’s 2015 Concert Percussion Ensembles...

Coming Soon!

YES! We can supply the Boomwhackers®

C O NTACT U S TO LL-F R E E or O N LI N E

Friend us on Facebook!

1-800-624-8001 • www.rowloff.com Also Available At Your Local Music Dealer

10 FEATURES

AUGUST 2014

10

Tutti

21

Seven Effective Habits

VOLUME 83 — ISSUE 1 On the cover: Jourdan Johnson, a seventh-grader at Fort Worth Academy of Fine Arts, performs with the Children’s Choir of Texas. Photo by Paul Denman.

In this month’s installment, learn how your colleagues across the state organize their classrooms, set up their rehearsal spaces, prepare to teach new repertoire, and warm up their groups. :KHWKHU \RX DUH VWHSSLQJ LQWR WKH FODVVURRP IRU WKH ÀUVW WLPH RU returning after many years, these seven habits should remind you why you wanted to be a music educator and help you adopt more positive reactions to challenging situations.

BY AARON KENNELL AND KEVIN WOOD

28

SMART Planning Fosters Student Success With SMART planning, you will be better equipped to envision the future and determine the best path to help your students gain independence and achieve success.

BY PAUL SIKES

COLUMNS President’s Notes .............................................. 4

by Janwin Overstreet-Goode Executive Director’s Notes..................... 7

by Robert Floyd Band Notes .............................................................16

by Andy Sealy

37

Bridging the Gap With just a little collaboration and planning, you can continue to offer high-quality music education while at the same time reinforcing concepts taught in your students’ other classes.

BY LISA RAI TREWIN

UPDATES Attend Your Fall Region Meeting...................................................................2

Orchestra Notes ...............................................26

by Craig Needham Vocal Notes ............................................................32

by Dinah Menger

Welcome Back! ..............................................................................................8 2015 TMEA Clinic/Convention ......................................................................9 Expand Your Middle School Music Library with a TMEA Grant ............... 24

Elementary Notes .......................................... 43

by Colleen Riddle College Notes ......................................................46

by Michele Henry

Invest in Our Future by Starting a TFME Chapter ..................................... 31 Exhibit at the 2015 TMEA Clinic/Convention ........................................... 36 Southwestern Musician | August 2014

1

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

Attend Your Fall Region Meeting

Managing Editor: Karen Cross

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

TMEA Executive Board President: Janwin Overstreet-Goode MRYHUVWUHHW JRRGH#ÀVGN QHW 1406 Frontier Lane, Friendswood, 77546 281-482-3413 x 150/Fax: 281-996-2523 – Friendswood HS

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

Past-President: Joe Weir joseph.weir@humble.k12.tx.us 19627 Firesign Drive, Humble, 77346 281-641-7606 – Atascocita HS

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

Orchestra Vice-President: Craig Needham Craig.Needham@richardson.k12.tx.us 1600 E Spring Valley Road, Richardson, 75081 469-593-7028 – Berkner HS

Vocal Vice-President: Dinah Menger d.menger@sbcglobal.net 1305 Westcrest Drive, Arlington, 76013 817-891-1095 – Baylor Univ

Elementary Vice-President: Colleen Riddle criddle@aldine.k12.tx.us 319 E North Hill Drive, Spring, 77373 281-985-6107 – M.O. Campbell Ed Center

College Vice-President: Michele Henry michele_henry@baylor.edu 1 Bear Place Unit 97408, Waco, 76798 254-644-0150 – Baylor University

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

Get involved and stay informed by attending your Region meeting.

Region

1

Date

Aug 16

Time

Location

10 a.m.,

Amarillo HS

9:30 a.m. food

2 3 4 5 6 7 8

Aug 16 Aug 16 Aug 22 Aug 17 Aug 9 Aug 16 Aug 9

10 a.m.

10 a.m.

5 p.m.

2 p.m.

10 a.m.

1 p.m.

10 a.m.,

Decatur HS Lake Highlands HS Mt. Pleasant HS Summit HS Lee HS Aledo HS Belton HS PAC

9:30 a.m. food

9 10 11

Aug 16 Aug 11 Aug 9

9 a.m.

6:30 p.m.

12 p.m.

:HVWĂ€HOG +6 Lamar Univ. Music Bldg John Jay HS

11:00 a.m. food

12 13 14

Aug 9 Aug 16 Aug 10

10 a.m.

10 a.m.

10 a.m.,

CT Johnson HS George Ranch HS Del Mar College

9:30 a.m. coffee

15 16 17

Aug 16 Aug 9 Aug 16

10 a.m.

10 a.m.

9:30 a.m.

McAllen HS Post HS Angleton HS

9:00 a.m. food

18

Aug 16

10 a.m.,

Anderson HS

9:30 a.m. food

19 20 21 22

Aug 9 Aug 23 Aug 9 Aug 23

10 a.m.

9 a.m.

10 a.m.

12 p.m.

San Jacinto College North Greiner MS Jacksonville HS, Band Hall Eastwood HS

11:00 a.m. UIL mtg

23

Aug 16

9 a.m.

Alief Taylor HS

8:30 a.m., food

24 25 26 27 28

Aug 16 Aug 23 Aug 16 Aug 16 Aug 9

10 a.m.

10 a.m.

10 a.m.

9 a.m.

10 a.m.

Newman Smith HS Plano East SH McNeil HS Cypress Ranch HS Harlingen 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 | August 2014

Texas Lutheran University School of Music

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

For specific qualifications for each award, visit www.tlu.edu/music, or scan the QR code at the bottom right with your smartphone.

SCHOOL OF MUSIC DEPARTMENT HEADS

SCHOLARSHIP AUDITION DATES:

Beth Bronk Director of Bands bbronk@tlu.edu

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

10:00 a.m. to 12:00 p.m.

1:00 p.m. to 3:00 p.m.

1:00 p.m. to 3:00 p.m.

1:00 p.m. to 3:00 p.m.

BACHELOR OF MUSIC IN ALL-LEVEL MUSIC EDUCATION BACHELOR OF MUSIC IN PERFORMANCE BACHELOR OF ARTS IN MUSIC Accredited by the National Association of Schools of Music

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

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

TMEA wants you!

B Y

PRESIDENT’S NOTES IMPORTANT DATES August—Attend your fall Region meeting (see page 2).

August—Renew your TMEA membership and preregister for the 2015 convention.

August 20—Liability insurance through TMEA expires.

October 1, 6 a.m. CT—TMEA convention online housing reservation system opens.

December 31—TMEA convention mail/fax preregistration deadline.

January 22, 2015—TMEA convention online preregistration deadline.

February 11–14, 2015—TMEA Clinic/ Convention in San Antonio.

4

Southwestern Musician | August 2014

J A N W I N

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

A

s we prepare for the start of a new school year, we all work diligently to select the proper repertoire for our performing organizations or develop the curriculum for our general music classes. We also need to prepare for participation in TMEA activities throughout the school year.

The first statement in the TMEA Code of Ethics, Section 1: Responsibilities to the Profession, states the following: An ethical teacher shall recognize that the profession demands integrity, high ideals, and dedication to music education.

As music educators, we (hopefully) approach our teaching with integrity and high ideals every day. But what, exactly, is meant by dedication to music education?

I think one component of it is a willingness to serve our profession and our students through involvement in TMEA activities.

Our responsibilities to our students seldom end at 4:00 P.M. on Friday; we often labor well beyond the standard 8-hour day or 40-hour week. Those additional hours may include working with individual students on Region audition music, running section rehearsals or full rehearsals, or sweating with the marching band before or after school. Weekends are not sacred, as most auditions, contests, and Region events are held on Saturdays. For those teachers who work on two or more campuses, this becomes even more of a challenge.

Balancing time between middle and high school, middle and elementary school, or even elementary and high school students can be overwhelming.

For our Region, Area, and State organizations to run efficiently and effectively, it takes the efforts of all TMEA members. Within your personal schedule, try to determine what it is you can do to serve your Region. Can you

An ethical teacher shall recognize that the profession demands integrity, high ideals, and dedication to music education. An ethical teacher shall respect and support colleagues and other school personnel in the proper performance of their duties.

host an audition or a Region concert? Can you serve as a Region organizer or section leader? Are you called to be a Region Chair, President, Vice-President, or Secretary? Are you willing to take on the responsibilities of treasurer?

Many times, as volunteers, we put in hours well above and beyond expectations, and perhaps that extra time commitment might seem worthy of compensation. But should we expect to be paid?

On the flip side, if there is no compensation for serving the Region, Area, or State, does that negate our obligation to serve?

Over the years, some Regions have determined it necessary to pay officers for their services. The amount has varied dramatically across Regions and by division, ranging from no compensation to thousands of dollars. Over the past several months, the TMEA Executive Board has worked to establish best practices and guidelines for Region and Area stipends (paid to Region Chairs or audition and clinic hosts) and looks forward to a better standardization of this process.

Regardless of whether or not your Region provides a stipend, TMEA needs your involvement at all levels of the process if the organization is going to continue to be an effective provider of meaningful musical experiences into the future.

The rewards for service often extend beyond the monetary. Serving as a Region organizer gives one the opportunity to work closely with invited clinicians, participating in the repertoire selection, watching rehearsals, and learning new techniques. If you serve as a Region Chair, hiring judges for auditions presents the opportunity to meet directors from Regions other than your own. Serving as an audition or concert host can provide fundraising opportunities for your Booster Club through concession sales.

At the state level, there are many avenues for volunteering. For example, at the convention you can spend time working in registration or serving as a presider for a clinic session or as a guide for Honor and Invited Performing groups. You can assist with the facilities team, setting up for concerts in the performance venues.

Organizers and section leaders for the All-State groups have the opportunity to work with the best students in the state and observe outstanding clinicians from across the country. The rewards for serving at the state level are immeasurable.

Toward the end of the â&#x20AC;&#x153;Responsibilities to the Professionâ&#x20AC;? section of the TMEA Code of Ethics, we find the following: An ethical teacher shall respect and support colleagues and other school personnel in the proper performance of their duties.

Regardless of who the elected officials or volunteer hosts are for your Region or State activities, part of your responsibility is to be supportive of their decisions and requests. And, if we do not agree with the organization or procedures designed by our elected officers, do we have the right

to make suggestions? If we choose not to volunteer to host an audition, organize a Region ensemble, or serve as a Region officer, have we abdicated our right to complain when things are not done the way we think they should be?

Ultimately, we can choose whether or not to be a part of the process. Volunteer to serve in some capacity in your Region or if asked, willingly assist in a needed capacity, because in the end, we are all in this for the benefit of our students.

Southwestern Musician | August 2014

5

Giving, sharing, and realignment B Y

R O B E R T

F L O Y D

A

t its four-day June meeting, the Executive Board spent many hours discussing the 2015 convention, audition procedures, and the business of managing a nonprofit. They also set aside time to discuss how our association might serve its members and students in new and innovative ways. In addition, much time was spent evaluating the services we have provided, and yes, the agenda included discussion on possible realignment options.

Giving TMEA continues to be fortunate to have the resources to fund projects that support our mission of providing meaningful music education for our Texas students. Coming on the heels of managing a $1 million TEA fine arts grant, followed by TMEA’s grant of $500,000 awarded last year to over 600 elementary music programs, the Executive Board voted to create another grant program to serve members’ middle school music programs. This new program will provide $500,000 in $1,000 grants to be used specifically for the purchase of music. There is an announcement on page 24 of this issue, and more information will follow soon.

In addition to this new grant program, the College Division essay competition prize money has been significantly increased, and a new college composition contest is being developed. You can read more about these opportunities in College Vice-President Michele Henry’s column.

Further, the Board approved up to $50,000 to develop, print, and distribute a publication communicating the importance of elementary music. Preliminary plans call for this document to include essays, research data, and definitive criteria for what a quality program should include. The Executive Board is also considering creating a recognition program for elementary music programs that

One of the strengths of music education programs in our state has been the willingness of teachers to share strategies, rehearsal techniques, and simply learn from each other.

EXECUTIVE DIRECTOR’S NOTES IMPORTANT DATES August—Attend your fall Region meeting (see page 2).

August—Renew your TMEA membership and preregister for the 2015 convention.

August 20—Liability insurance through TMEA expires.

October 1, 6 a.m. CT—TMEA convention online housing reservation system opens.

December 31—TMEA convention mail/fax preregistration deadline.

January 22, 2015—TMEA convention online preregistration deadline.

February 11–14, 2015—TMEA Clinic/ Convention in San Antonio.

Southwestern Musician | August 2014

7

meet quality criteria. This project will be guided by President-Elect Keith Dye working in collaboration with staff.

Finally, TMEA is providing reimbursement of $50 per student, up to 10 students per chapter, for Texas Future Music Educator chapter members who attend our convention. These funds may be used for housing and/or travel.

Sharing Through the years one of the strengths of music education programs in our state has been the willingness of teachers to share strategies and rehearsal techniques and simply learn from each other.

In the early days of bands in our state, it was common for directors to drive to another community every week to attend a friend’s evening rehearsal. This practice began in the valley but spread across the state and across divisions. As a young teacher I was fortunate to begin my career in a district where I could observe quality teaching every day. Many members, however, do not have that luxury, and beyond attending our convention or an occasional Region workshop they have limited opportunities to learn from others.

As we begin the 83rd volume of SOUTHWESTERN MUSICIAN, we are reviving the highly successful Tutti series from 2007 to 2010. Tutti will provide opportunities for teachers to share their tricks, techniques, or strategies on a particular instructional-related subject that members have communicated are high priority topics. From our previous series there are over 3,000 responses to more than 300 questions available online in the teaching resources section of our website.

The database is searchable by topic and division. For this volume, you will find the first installment on page 10, and it includes answers to questions about planning, classroom setup, warm-up techniques, and more. As we ask for your participation throughout the year, please take the time to contribute. While a few select responses will be printed each month, all submissions on a particular topic will be available on the website.

Realignment The Executive Board, in collaboration with UIL, is beginning to study Region and Area realignment. The Board actually reviews alignment every two years at

its June meeting, but after 10 years since the last change in alignment, it is the Board’s consensus that it is time to give alignment a more detailed review. Thanks to the efforts of Deputy Director Frank Coachman, we have extensive data that was not available during the last realignment.

Considerations will be given to travel and population density while protecting some degree of equitable representation from West Texas. I will hasten to add that this will be a carefully developed strategy that could result in additional Regions, redrawing of Region boundaries, or new Areas. It could also result in no change.

An alternate approach under study is an apportionment formula that would allow Areas to advance different numbers of students to State based on the number of students participating in that Area, not just entering, at the Region level. This is similar to the UIL Marching Band Area model that advances organizations to state based on the number of bands participating at Area. If any changes are made, those changes would not be implemented until the 2016–2017 school year. There will be ample opportunity to provide input along the way as this review begins.

Welcome Back!

The Executive Board and TMEA Staff welcome you back for another successful school year!

A very special welcome goes to our new members, those who are beginning their first year of teaching, and those who have moved to our great state to continue in this most incredible profession!

We look forward to serving you and hope that you find great pride in belonging to the largest state music educators association in the nation!

8

Southwestern Musician | August 2014

Texas Music Educators Association 2015 Clinic/Convention F E B R U A R Y 11 – 1 4

SA N A NTO N I O

Y R E B V E S E T H T

E e c r t n s o C x h s ibits c i n i l C

Southwestern Musician | August 2014

9

TUTTI who what when where why

)

UNLESS YOU TRY TO DO SOMETHING BEYOND WHAT

YOU

organization classroom setup score study warm-ups

)

HAVE

ALREADY MASTERED,

YOU WILL NEVER GROW .

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

What do you find most important in organizing your classroom for a successful start?

Maria Chadwell, Balch Springs MS Band, Dallas ISD—I believe every teacher should have their magic cabinet with all those things needed at a moment’s notice. Mine holds everyday materials such as scales, warm-ups, worksheets, referrals, nurse passes, and incentives. I also believe a clutter-free rehearsal area is a must.

Create an area where students can place their personal belongings. Finally, make sure rules and consequences are clearly visible with positive posters in plain view.

Craig Haynie, San Augustine HS Band, San Augustine ISD—I try to make sure everything makes sense—where students are to keep their music, instrument lockers sorted in a way that minimizes clogging, and a setup where students go directly from one step to the next, ending with them in their chair ready to play.

The key with beginner students is consistent repetition on how you expect them to come into the classroom.

James Keltner, Memorial MS Band, Harlingen ISD—We print mailing labels with the student name, instrument, locker number, and band period. The mailing labels go on the student chair, band folder, and instrument case. When the students enter on day one they find their assigned seat and sit down. We already have the school instruments checked out and in their locker along with their folder. After roll check we send students to their locker by sections to retrieve their instruments and folders. This allows us to play on day one. It requires a lot of preparation, but it saves precious time and prevents confusion, setting the tone for the year.

10 Southwestern Musician | August 2014

h ’ s t n f e at ur o m s i es th

Melissa James, Killeen ISD—For the sake of classroom management and teacher sanity, it is crucial to have enough handouts and activities ready for the first week. Copies of handbooks, warm-ups, at least one piece of music for each group, and beginner handouts are essential. Always have more copies than you think you might need since it can be hard to get more made during the first few days.

Marla Maletic, Nimitz HS Orchestra, Irving ISD—Learning names as quickly as possible is a challenge for me. I hang name tags on the music stands for the very first day. Then I take pictures of the student and their name tag so I can study. I also find it helpful to have names on lockers, on cases, and even on bows.

I wish I had purchased a label maker years ago.

Desiree Overree, Seven Lakes HS Orchestra, Katy ISD—I’ve found that starting early to get the details out of the way really helps. During the week of in-service, usually the week prior, we assign instruments to students (we call it Cello/Bass Day). This year we will try to measure students and assign uniforms at the same time. We even try to plan the repertoire for the first two concerts so we can order the music early to bow it. Additionally, keeping meticulous records, whether through a simple Excel spreadsheet or a Web-based program like Charms is crucial.

Whether uniforms, inventory, or financials, keeping track of the data somehow keeps everyone in check.

Kay Sherrill, Judson HS Choir, Judson ISD—We issue a firstday packet that contains everything they need to know for the start of the school year. It contains our policies and procedures, our choir school calendar, a student contract, and an emergency medical form (for traveling). Secondly, we take a photo of each student, print it in thumbnail form, and attach it to a “Getting

to Know You” page the students complete. This helps us learn names quickly, and they love having their photos taken!

Kelly Davisson, Keller Early LC, Keller ISD—Young students function best in an environment that is structured and feels safe and familiar. Some of the classroom management tools I use include a numbered seating chart with color sections, rotating classroom helpers chart (different numbers from each color group are section leaders), and a Who’s Next? chart. This chart is an index card holder used for taking turns. There is a slot for each class containing index cards with each student’s name at the bottom of the card (hidden inside the pocket). When it is time to choose someone to start a game, or play an instrument part, we choose from the Who’s Next? chart. This eliminates the “pick me” frenzy, and no one can accuse you of playing favorites.

Norm Sands, Tabasco ES, La Joya ISD—Be sure you have good traffic flow—nothing in a place where students may trip, items that could be broken are out of the way of little hands, and don’t forget about your own personal traffic flow. If you know you’ll access items during your lessons, have them in a place where they can be readily accessed. You don’t want to be a contortionist and you don’t want to turn your back on your class or have to duck out of sight or disappear into a closet. A good, organized flow from start to finish will create a clear mental image for you and your students to stay focused on the tasks at hand.

Ann K. Sterrett, Harmony School of Science, Harmony ISD— Contingency plans are what drive my classroom organizational system. When I prep for the year, I think through all of the potential hazards to a well-run classroom. From kindergarten to middle

school, what could hinder their ability to concentrate and learn as we navigate the many songs and activities that make up a typical class? As I think of them, I devise necessary procedures, or else they get lost in the hustle and bustle that is the life of a teacher.

What classroom/rehearsal space setup has been effective for you?

Tommy Fain, Lake Dallas MS Band, Lake Dallas ISD—The band is positioned so that we can hear problems that need to be addressed. Unfortunately, there is something about the acoustics of our rehearsal hall that makes it necessary for us to shift the setup in a direction different from what the architects envisioned when they designed it. After noticing we could not hear as many issues while rehearsing compared to when we performed on various stages, we realized we needed to move. While it’s not otherwise convenient, hearing across the group is most important.

Marcia Powell, Milby HS Orchestra, Houston ISD—All students learn they are responsible for setting up and putting up chairs and stands. Whole group circles are great for large sectionals or like-instruments. This focuses the sound, and allows me to move around quickly to listen and help, either inside or outside the circle. Sometimes I break out these large circles into smaller groups of 4–5 people. Advanced groups are usually arranged more traditionally but can still go to circle breakout groups.

Southwestern Musician | August 2014 11

WGI Winds presents marching ensembles of any instrumentation in the same performance environment as indoor color guards and percussion ensembles.

As one of the worldâ&#x20AC;&#x2122;s largest and most inďŹ&#x201A;uential marching arts organizations, WGI has studied bringing the same exciting competitive and educational opportunities to students in the winds section in support of the total band program for several years, and now is the time. Classes for scholastic and all-age ensembles will be offered, and performers will be judged by the most skilled adjudicators working in the marching arts today!

Beginning in 2015, watch for WGI Winds events:

March 7 Houston, TX April 11-12 Winds World Championships Dayton, OH

Scan this QR code to watch the Aimachi Winds exhibition performance from the 2014 WGI World Championships.

wgi.org/winds

Assign a few students in each class to help remind others to stack chairs and stands neatly before exiting the room every period.

Also, frequently mixing up the setup helps to keep the students from becoming stale or glued to a particular spot in your room.

Jennifer Carter, Parkhill JH Choir, Richardson ISD—I have a fairly small room shaped like a shoebox. The most students I have in one choir is 50. I utilize two rows of seated riser levels and put one row on the floor. The risers are configured in a straight row pattern and arc at the very ends. This allows the risers to be very close to the wall, opening up space in front for the additional row of chairs if needed. This allows for more space for small-group singing, sightreading, and part singing. Students face the whiteboard or screen for easy view of visual examples. Straight rows help curb discipline because students cannot see across sections and become distracted.

Curtis Donohue, Rummel Creek ES, Spring Branch ISD—I try to make my classroom setup as versatile as possible. I need to be able to teach choir, folk dancing, recorders/ukuleles, Orff instruments, drum circles, and more in the same room. My first priority is to have a large space in the middle for activities such as circle games or folk dances. I set up the rest of my room around that, always focusing on ways to support consistent procedures for my students to follow. I have a defined meeting area where we start and finish every class. For me, this is the risers, which double as our rehearsal area. Beyond that, I have designated areas for students to receive different instruments, as well as specified areas for board and computer work. I want my classroom to be as predictable as possible for the students, so I can focus on making lessons fun, relevant, challenging, and unpredictable.

Kim Fritz, High Country ES, Eagle Mountain-Saginaw ISD—A choral half-round has worked best for us. The children were amazed at the sound as they had previously been used to sitting in audience style or straight rows.

Carla Lowery, Clyde IS, Clyde ISD—In the elementary classroom, lines are painted on the floor like the staff. Each line is a different color. The students sit on the lines. I call out the name of the lines to signal them to leave (first line E, second line G, and so on). When I need them to move back a little farther, they sit on the spaces. We play games using the staff on the floor, and they start to make the connection from the floor to the staff when they see it on the board or paper.

Pamela Mauldin, Losoya IS, Southside ISD—I teach general music along with choir. I use tape to make the lines of a large music staff on the floor. In their standard mode, they sit outside a rectangle that outlines the staff in assigned places. When we move to singing or movement activities, they move to “choir mode”—assigned spots on each of the five lines, according to height, to represent rows on risers. It’s great preparation for programs because most of the time, I don’t get everyone together until the actual program and they already know where to go. I also utilize the floor staff when I refer to the staff for any reason.

Michael Alexander, Baylor Univ—The most effective classrooms have a clock on the wall that faces the podium (behind the ensemble). This keeps the director aware (and the students blissfully unaware) of time! The ensemble should be seated so that the classroom doors are behind them; that way the director is in control of who enters the room. When the doors are behind the director, office messengers can do all sorts of things behind you!

How do you prepare to teach new repertoire?

Leigh Ann McClain, Griffin MS Band, Lewisville ISD— First, select a piece that complements your group—this requires a lot of listening! Once you have found a piece, listen to multiple performances and determine where the problem areas might be.

Next, study the chord structure to find the like voices, chord progressions, and less familiar notes. After all these steps, block out a rehearsal plan. Start where there is a large tutti section and add sections from there. You don’t always have to start at the beginning!

Mark Nichols, La Porte HS Band, La Porte ISD—I study it a great deal, but I try not to listen to recordings initially so that I can develop my own opinion of how the piece should sound. After I rehearse it a few weeks I seek out several recordings to help me in my journey. I don’t want to copy someone else. I want to create music of my own.

Jessie C. Smith, Foster MS Band, Longview ISD—I first listen to as many recordings and interpretations with the score as possible. Then I highlight the areas in the score I think need a little more of a personal touch. After that I make notes on the originals for the students, which include musical terms that they are familiar with for them to understand the composer’s intent. I often distribute copies of the main score and have the students read their parts in small groups. At first this is very confusing for middle school students; however, they catch on quickly. Apart from the main score study, I have them write an essay on the selection to help them understand how it relates with the internal movements that the composer is wishing to convey at that moment in history. Only after we have sightread the piece several times do I play a recording for them—then we are at the point where the musicians (middle school students) and I can clearly understand the interpretation we are looking to create for our performance as well as the composer’s wishes.

Joe A. Soliz, Ben Bolt-Palito Blanco CISD Band—I make it a point to listen to several recordings of that particular piece of work. I review UIL contest results of other bands that performed the piece and I call their directors for advice or ask for a copy of their recordings. I make sure to share the recordings with the ensemble that will perform that piece.

Stephanie Wlodkowski, New Waverly HS Band, New Waverly ISD—When preparing to teach a new piece of music, I first check to ensure that it is in the appropriate range for all instruments.

With such a small band in its beginning stages (also without full instrumentation), I also have to make sure that we are able to cover all of the parts. Next, I look for anything that might be unfamiliar or particularly difficult for the group and make a plan for the best way to teach it, also considering what might be the best timing for teaching these new concepts during a rehearsal.

I usually choose to work on these most challenging items before we ever play through the whole piece. Then I check for anything my students might accidentally overlook and make a note to draw my students’ attention to them before playing the piece. If there are any difficult or new rhythms in the piece, I write them on the board before class to save time.

Southwestern Musician | August 2014 13

Denise Eaton, Sam Houston State Univ/Vocal—I study the score very carefully: I play through it a few times, play one part while singing another part, and really get to know the piece. Then I make a sketch of the form. Then I copy single sides of the music and lay it out so that I can find all repeated thematic material within a section and from section to section. I write out difficult rhythm patterns encountered. I then sketch out how to teach the piece sequentially. From all of that study I create or find teaching materials as needed: chord progressions, rhythm exercises, sightreading materials in the same key, warm-up exercises that address needs of the song, and more. Work backward in order to work forward.

Katie Webb, Spring HS Choir, Spring ISD—Fundamental sheets are key! I copy each score page and set it out to look for the big picture elements—rhythms, key changes, etc. I create fundamental sheets that focus on each basic element and introduce them according to importance. This way, the students already know a large portion of the piece before the music hits their hands. They can transfer the knowledge made from the fundamental sheets and apply it to their octavo. Review the fundamental sheet before having the students take out their music. This way, they are quickly reminded and the lesson goes even more smoothly. I make sure to plan my long-term lessons section by section, and then incorporate transitions. Fundamental sheets help break it down and create solid short-term and long-term lesson plans for the future.

What is your warm-up routine, and how do you customize it?

Levi Chavis, Reagan HS Band, North East ISD—I think the number one thing when putting together a routine is to know your students. As you observe them warming up and practicing, take note of what they choose to practice and how. For example, if you see your students are less willing to practice articulation on their own, structure your routine to emphasize that as opposed to tone. In addition, I always look at the music we are rehearsing to see what challenges the music presents. Skills we isolate in warm-up that directly apply to music include key centers, complex rhythms, specialized articulations, and challenging balance responsibilities. Don’t be afraid to develop new exercises on the spot depending on what you’re getting from your musicians! Be creative and have fun with it! Too much of the same thing makes it difficult for students to stay engaged.

Richard Peters, South San HS Band, South San Antonio ISD—I adjust this to fit rehearsal time: breathing for 3 minutes; Remington/long tones for 3 minutes; rhythm exercise for 3 minutes, adjusted to music we are rehearsing; scale patterns for 2 minutes, with special attention to scales used in music; and chorales for about 4 minutes.

Scott Taube, Lockhart HS Band, Lockhart ISD—Have many exercises from which to choose that reassure tone, intonation, rhythm, and musicianship. Mondays are Remington, Tuesdays are intervals—different exercises to assess same premise.

Technical etudes can be lyrical one day and fast another. Scales should be played daily. You have many methods to alter learning: 14 Southwestern Musician | August 2014

one octave, two octave, five-note patterns, arpeggios, modes, circle of fifths, circle of fourths, in thirds, and many more. Use chorales for musicianship. Have students learn SATB, each line, and assign instrument groups to different lines. This develops awareness of musical line as well as balance and blend.

Adria Dunn, Americas HS Orchestra, Socorro ISD—Use long tones. I learned that from Ida Steadman. Never start your day without them. Finger patterns for younger students, combined with scales for the older ones are just as important. People complained when the class day fell to a traditional schedule. It didn’t change my routine/structure at all. We start tuning before the bell rings and hope to finish within one or two minutes after. This allows us to experience a full class even if it’s a half-day schedule with a 20-minute class.

Molly Jackson, Gregory-Portland JH Choir, Gregory-Portland ISD—Our daily warm-up routine involves physical movement/ fun, focus/breathing, slow warming-up of the voice, and with boys I always begin in their falsetto. Next, I choose something for flexibility, possibly a combination of legato and staccato. Lastly, I have them sing a warm-up for range. My students realize that they’re receiving a mini voice lesson during warm-up time, so full participation is essential.

Kim Fritz, High Country ES, Eagle Mountain-Saginaw ISD—I use the Andy Beck book Vocalize! (Alfred). It has a melody/vocal exercise for just about everything. I love the way he modulates through many keys on most exercises. After reviewing my repertoire, I peruse this book for exercises. Many times, rather than use the book, I’ll work a section at the beginning of rehearsal as a warm-up. This consists of breaking the passage apart to target challenging areas.

Tod Fish, Stephen F. Austin State Univ—I warm up their ears before anything else. I have a routine that we follow daily.

I believe warm-ups customized to music you are rehearsing is overrated. In my opinion, you should find a rhythm and pattern in warm-ups that the students become accustomed to and it will add flow and continuity to your rehearsal. Use signals to move from one warm-up to the next. This allows you to become more efficient and prevents confusion.

Robin Korevaar, Highland Park ISD Clarinet Instructor—I focus first on a clear, supported sound through long-tones, ensuring a consistent sound across registers/dynamics (chromatic work, Remington/Chicowicz studies, harmonics). Technical studies (scale patterns, Klose, Vade Mecum), sightreading, duets and improvisation reinforce sound production, musicality, and flexibility of body and mind. I choose keys and styles that correlate with the musical material of the day.

Thanks go to the TMEA members who answered this month’s questions.

For even more replies visit: www.tmea.org/tutti

February

Novem

4 1 0 2 , 5 1 & 4 1 r e b

6 & 7, 2015 7, 2015

N A E L EDU

March 6 &

S 5 1 4 1 20

s n o i t i d u A p i h s r a chol

:

ON I T I D AU

c i s u u/m

d u.edu e . u c @okc w.ok

H C S O T

ww

ocum

s n o i t i aud

405

0 8 9 5 .

8 0 2 .

WANDA L. BASS SCHOOL OF MUSIC

BAND NOTES IN MEMORIAM BRANDT LEONDAR February 4, 1961–July 5, 2014

IMPORTANT DATES August—Renew your TMEA membership and preregister for the 2015 convention.

August—Attend your fall Region meeting (see page 2 for details).

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

August 20—Liability insurance through TMEA expires.

September 1—Deadline to submit All-State etude errata to the Band Division Chair.

October 1, 6 a.m. CT—TMEA convention online housing reservation system opens.

October 14—Deadline to receive All-State Jazz audition CDs in the TMEA office.

November 8–9—All-State Jazz judging.

December 31—TMEA convention mail/fax preregistration deadline.

January 10, 2015—Area Band and Vocal auditions.

January 22, 2015—TMEA convention online preregistration deadline.

February 11–14, 2015—TMEA Clinic/ Convention in San Antonio.

16 Southwestern Musician | August 2014

Privilege and responsibility B Y

A N D Y

S E A L Y

I

know. I had that same dream, too. Let me see if I have this about right—you were strolling along the beach in some hazy island paradise until the drumline’s metronome shattered your predawn solitude. Then it all suddenly came rushing back to you—the fourth of July fireworks fundraiser, repainting the yard lines on the parking lot, measuring for uniforms, last-minute beginner instrument testing, assigning lockers, fixing the leak in practice room four. Then comes the smell—that combination of sunscreen, the overheated copier, and that peculiar scent of a band hall perceptible only following a prolonged period of inactivity. And then you had a vague recollection that you agreed to host Region auditions, again. Am I fairly close? Perhaps that’s just my dream. Either way, welcome back to the beginning of another successful year!

Hopefully you enjoyed a respite, no matter how brief, from the demands of the classroom. Our ever-shrinking summer is still capable of renewing our faith, renewing our patience, and renewing our passion for teaching.

As professional educators it is assumed we arrive on time for class, clearly define our classroom procedures, carefully construct appropriate goals and objectives for our students, and thoroughly prepare for each day’s lesson. None of these tasks seem unreasonable. None of them are unanticipated. As members of the teaching profession these are the basic expectations. Much of our ability to serve students is predicated on simply getting these basics in place and following through with consistency.

Being an educator has its professional privileges and professional obligations as well. The privileges afforded to us as music educators are remarkable.

Being an educator has its professional privileges and professional obligations as well.

The Future of Music Education in

NEW!

TEXAS!

Designed specifically for Texas!

• TEKS Correlation for each lesson • Texas Songs

Submitted for review under Proclamation 2015!

• Commitment to Accessibility as set forth in Proclamation 2015 • Texas History and Key Figures • Mariachi Band Performances

FREEESS! ACC

Try our Texas QK-5 Curriculum Today!

Get FREE ACCESS to our Texas QK-5 Curriculum Sample for the remainder of 2014!

1. Go to: QuaverTX.com 2. Click on: View Quaver’s Texas K-5 Curriculum Sample 3. Enter Username: TryQuaver5 • Password: TryQuaver5 ©2014 QuaverMusic.com, LLC

Advanced Technology.

Teacher-Friendly.

SERIOUSLY FUN!

We are privileged to work in a state that supports the value of music education at all levels and in an environment that still funds, to a large degree, the practice of music education. We have rehearsal space and our students still have some access to instruments. This is not to say that we are immune from ever-shifting educational paradigms or shrinking budgets. Nor are all educators and students supported to the same degree from district to district, but music education still holds a valued place in the curriculum in the eyes of our legislators, administrators, and parents.

We must continue to be advocates for our programs, especially on the local level.

And we must continue to work hard to keep our programs engaged and relevant in our communities.

We are privileged to serve alongside like-minded fine arts colleagues. Yet we have a tendency to under-value and perhaps under-develop these relationships.

This default support network can function as a sounding board for new ideas, as a source of encouragement, and as a unifying element in our professional lives. So many times we fail to adequately celebrate the successes or acknowledge the frustra-

18 Southwestern Musician | August 2014

tions that are a reality for all educators 24/7. We are all in the trenches together.

Itâ&#x20AC;&#x2122;s just a question of which trench on which day. Seek out your fellow music teachers and work to foster those relationships with empathy and laughter.

Finally, there is no greater privilege than to share our classrooms and studios with young people. We are fortunate beyond measure to share our love of great music and the simple honesty of our craft with our students. We guide them in small ways each day and hope to nurture a lasting desire to explore and enjoy a lifetime of music.

On the flip side of these wonderful privileges are the obligations that accompany professional membership. The majority of these professional obligations are even generated by the very same stakeholder groups that provide the privileges we cherish. Too many times we project a negative or careless attitude about fulfilling our professional obligations. The list of professional obligations is certainly endless and the majority of these occur outside of the class day. There is fundraising money and entry fees to collect and manage, bus lists to prepare, Region

auditions to judge, entry deadlines to meet, leadership teams to train, new staff members to mentor, websites to maintain, and the list goes on. Itâ&#x20AC;&#x2122;s critical to execute these tasks with the same level of professionalism and diligence that we devote to score study or ear training.

Completing these seemingly mundane activities in an efficient, timely manner really fulfills the school equivalent of chopping wood and carrying water for our programs. They are every bit as essential as our daily drill and help to create a framework for our personal accountability to one another.

Taken a step further, the consummate educator embraces some of these professional obligations and turns them into opportunities for personal growth.

How could our individual teaching not benefit from mentoring someone new to the profession? How could our perspectives not evolve with sincere conversation with our students? And how could our staff members not improve process and procedure by being more accountable as a team? In this context, daily obligations become bonus teachable moments for us.

TMEA Membership Renewal and Fall Meetings While we are on the topic of renewal, be sure to take time to renew your TMEA membership at www.tmea.org or via mail/ fax if your school is paying. You must be a current TMEA member to enter your students in the TMEA All-State process. In addition, while you are online be sure to renew your liability insurance and preregister for the February 2015 TMEA Clinic/ Convention.

Please consider serving TMEA at the convention by entering your information online at www.tmea.org/bandvolunteer.

Also, please take note of your fall Region meeting and make plans to attend this important local function (see page 2 for details). Consider serving as a mentor for educators new to the profession or new to your area.

Band Division Updates Congratulations go to the recent recipients of the Pat McNallen scholarship awarded to Band Division members to help them fund their graduate studies: Jo Ann Champion, Hutto MS Nachel Konemann, Irons MS Michael Misko, Southside HS Janice Motl, South Belton MS Diane Shelton, Elysian Fields MS Derek Stoughton, McKinney Boyd HS Olivia Tucker, Medlin MS Ryan Zysk, Anderson HS The TMEA All-State Band audition etudes are posted on the website along with performance guides and errata.

Please note that the website is the only official posting of those items and that September 1 is the new deadline for errata submissions to the State Band Chair.

Thanks go to the etude selectors and presenters at the TBA convention.

Additional thanks go to the Board of Directors of the Texas Bandmasters Association for presenting what Iâ&#x20AC;&#x2122;m sure you remember as an exciting and educationally rewarding slate of clinics at the TBA Convention (held just as this issue was being mailed).

Thanks also goes to those dedicated educators who served as judges, contest chairs, contest hosts, and room monitors for the entire summer-long TMEA Honor Band process. Weâ&#x20AC;&#x2122;ll highlight the TMEA Honor Band results in next monthâ&#x20AC;&#x2122;s SOUTHWESTERN MUSICIAN.

VOLUNTEER WITH THE TMEA BAND DIVISION WWW.TMEA.ORG/BANDVOLUNTEER

40 TH A N N UA L

Buccaneer Marching Band Festival Blinn College Brenham, Texas

Saturday, Oct. 4, 2014 FRQWHVW WR EH KHOG DW %UHQKDP ,6' &XE VWDGLXP DUWLĂ&#x20AC;FLDO WXUI

1st, 2nd & 3rd PLACE AWARDS IN CLASSES 1A-6A CAPTION AWARDS IN EACH CLASS FOR: DRUM MAJOR - COLOR GUARD - DRUMLINE - SOLOIST

First 35 entries accepted Entry deadline Sept. 5, 2014 $350 entry fee includes DVD of performance and constructive comments from a panel RI Ă&#x20AC;YH GLVWLQJXLVKHG MXGJHV )RU FRPSOHWH LQIRUPDWLRQ DQG HQWU\ IRUP FRQWDFW +DUU\ %ODNH 'LUHFWRU RI %DQGV KDUU\ EODNH#EOLQQ HGX (QWU\ IRUPV DYDLODEOH DW

ZZZ EOLQQ HGX Ă&#x20AC;QHDUWV PXVLFIRUPV KWPO

Southwestern Musician | August 2014 19

Find Your Inspiration

Create an Evolving Teaching Philosophy

Build Relationships

SEVEN EFFECTIVE HABITS

Use Technology

Understand Your Community

Communicate Effectively Promote a Safe and Welcoming Environment

by Aaron Kennell and Kevin Wood

Y

ou’ve been a hotshot your whole life. You’ve succeeded at every musical endeavor. You didn’t wonder if you’d go to music school; you only debated which instrument would be your primary focus. You chose a prestigious school and you worked hard through semesters of instrument method classes, performed with various ensembles, and were placed with a highly sought cooperating teacher. Life was good!

Then you left the comforts of college life and joined the working world as an assistant director in the middle of nowhere. You’re a thousand miles from home, with students who act nothing like you expected. No education class available could have fully

prepared you for this reality.

You can likely relate to some aspect of that opening paragraph.

Even if you find yourself teaching with the benefit of ample resources and even if you’ve managed to land a job in familiar territory, there are always challenges for any new music educator. Whether you read this as a recent college graduate preparing for your first teaching gig or as a seasoned veteran seeking new insight into common classroom challenges, we hope the following will offer you healthy options to help you maintain order and happiness inside and outside of your music room. These seven positive habits should remind you why you wanted to be a music Southwestern Musician | August 2014 21

educator and help you adopt more positive reactions to challenging situations.

Find Your Inspiration Whether this is your first or twentieth year teaching, continue to learn from the best in your field. Most school districts require you to complete continuing professional education credits each year; the most obvious and common way to earn those credits is by attending clinics at the TMEA convention and summer workshops in your field. These events are both educational and motivational, and it’s no coincidence that the convention is held about one to two months before contest season. We all need external forces to motivate us, to inspire us, and to remind us of the amazing possibilities that can be accomplished in our own programs.

But the positive energy and inspiration that comes from attending a convention is often temporary. Within a few months of being back in the grind, we lose our mojo again. And for that reason, it is crucial to find additional ways to help maintain our focus.

Since you’re reading this, you likely value the power of written words, so seek out multiple publications that can offer you information and motivation—and they don’t all need to be about music or written by a musician. It’s easy to assume that you would enjoy listening to Texas honor groups and All-State concerts during our annual convention and that you return inspired by these performances.

It’s great that we have this opportunity, but we should also remember that attending our colleagues’ concerts can also spark creative ideas for our programs. If you live near a major city, take advantage of the cultural opportunities such as attending symphony performances; if you live in a rural area, listen to those same ensembles on iTunes or watch live streaming of some of the state’s university ensemble

concerts. Remind yourself how beautiful music is, and why you wanted it to be a central part of your life.

Build Relationships Life is a lot easier when you have some help. Just as many strong teachers take some time at the beginning of a school year to develop procedures and routines and build rapport with their students, we recommend making professional friends a priority when you move into a new position. You might be tempted to sequester yourself in your rehearsal hall, devising ways to grow your program into the next musical powerhouse. But the dividends you’ll earn by investing in getting to know your administrators, colleagues, and staff members will pay off greatly. You never know when you may need an administrative assistant or bookkeeper to help you with some paperwork, a teacher to work with some of your students to help them remain eligible, or a coach to drive a school bus for you. These professionals will be more willing to help someone they know personally rather than that nameless music teacher, so make sure you take some time to build relationships with them. Attend the occasional social event, drop by the holiday party, and engage in their stories—you won’t regret it.

Take Advantage of Technology Embracing technology has simply become a necessity in our world.

Incorporating technology in instruction is no longer viewed as exceptional; it’s an expectation. If you need help in this area, look to other successful music teachers to learn how they have incorporated technology in areas such as social media, notation, assessment, inventory, and much more.

Share files digitally with your colleagues and use music apps in your rehearsals. Using technology will help

Last year’s volume of magazines featured a “Technology Works for Me” series of articles offering quick technology solutions.

Go to www.tmea.org/emagazine to learn from fellow music teachers who incorporate technology in their daily instruction.

And be sure to attend some of the 70+ technology clinics that will be offered during the 2015 TMEA Clinic/Convention.

22 Southwestern Musician | August 2014

you do your job more efficiently, make your lessons memorable, and build a stronger rapport with your students, all of whom are digital natives.

Understand the Needs of Your Community It is crucial to understand the expectations and limitations of your performing ensembles within the community. Your music program is defined by what the community sees in public performances; therefore, the performances, including genre of music, performance venue, and sharing of students, will be slightly different at every campus depending on the community.

Small towns might take great pride in their students performing with the band at halftime and then hitting the gridiron for the rest of a football game, while large school districts may make it challenging for students to be involved in both.

Before you accept a new position, learn about the history of the school’s culture, and take it seriously. If you want to change some of the long-standing traditions, those changes must occur slowly and gradually—think evolution, not revolution.

Ultimately, when you accept a position, you also accept responsibility to become a part of that community.

Communicate Effectively Perhaps the most critical component of effective teaching is the ability to convey information to others. This could mean effectively delivering a lesson to students, seeking help from a colleague, or reporting the progress of your students to their parents. In any of these scenarios, be certain the message you intended was interpreted correctly.

If your students were unsuccessful after you gave them a directive, rather than becoming frustrated with them, first consider the possibility that the information you presented might need to be more precise.

When seeking help from administrators, be sure to respect their time and be as clear and concise as possible. A common technique that can help lead to a more positive response from your administrators is to start by acknowledging that they are the best people to help you solve a problem.

Additionally, consider how you will be heard when engaged in any public

speaking, such as at concerts. Compose, edit, and rehearse what you will say aloud before delivering it to the public. There are only a few times during the school year when parents will hear you speak, and how you share information will shape their opinion of you and your program.

Remember to take into consideration all the possible interpretations of a message before presenting it to your community.

Promote a Safe and Welcoming Environment Music classrooms are different from any other. As the great motivational speaker Tim Lautzenheiser often points out, students don’t typically hang out in the math teacher’s classroom before school, during lunch, and after school nearly as often as they do in our rooms.

And there’s a really good reason for that: we create an atmosphere of safety and creativity, and we have a strong rapport with our students. To gain our students’ trust, we have to get to know who our students are as individuals. We need to attend outside activities and be a supporter of the school. It’s okay to be seen at a basketball game! And you don’t even have to stay for

the entire game—students will remember seeing you in the stands.

Students also need to trust that when they are in your classroom, no mental or physical harm will come to them; therefore, you should always keep students’ dignity in mind when disciplining them.

Whenever your students misbehave, don’t assume they are intentionally trying to anger you. Most of the time, it’s better to handle discipline issues after class when everyone’s emotions are calmer.

Remember, your students’ actions happen because you allow them to happen.

Create an Evolving Teaching Philosophy Your teaching philosophy is the guiding principle that dictates how you will achieve success. What is your measure of success? Is it building a large music program? Is it earning sweepstakes trophies?

Is it performing in various performance halls across the world? Deciding what to teach and how to teach it will be no small task, but even more critical will be the ability to realize that as times change, you will need to adapt. Teaching techniques that were popular 30 years ago may or

may not still be relevant today, and we must remember that ultimately, the most important techniques are those that aid in student achievement.

Why Is It Necessary to Develop These Habits?

There is no one secret to the success of a music program. While we strive to be lifelong learners, we often forget that it is possible to improve on concepts we thought we had mastered. Just as it can be rewarding to learn new, more technically challenging concertos, it can be rewarding to revisit old works and perform them with the skills that only maturity brings. Music educators will face many challenges as we move forward. The balanced way in which we respond to these challenges with positive habits will allow our programs to thrive and help shape our students’ love of music.

Aaron Kennell is a Band Director at Nimitz HS (Aldine ISD) and Kevin Wood is an Assistant Band Director at Cy-Woods HS (Cypress-Fairbanks ISD).

Application Deadline: December 1

www.colorado.edu/music Southwestern Musician | August 2014 23

T

Your Music Library with a TMEA Grant

he TMEA Executive Board has created a grant program to support middle school music programs throughout the state. The Board approved $500,000 in funding for this grant and has directed the TMEA staff to administer the program this fall to allow middle school band, orchestra, and choir teachers (grades 6–8) to purchase sheet music for use during this school year. As of August 15, go to www.tmea.org/ msgrant for more information and, as of September 15, to apply.

To apply, middle school music teachers must be active TMEA members (go to www.tmea.org/membership to renew). Apply online September 15–October 15. You must provide an exact list of the music you intend to purchase, the supplier, and the cost. You must have a written quote from the supplier. Suppliers must be TMEA Sustaining Members (listed at www.tmea.org/ industry/directory). Grants will be approved based on existing overall budget, sheet music budget, number of students served, and other criteria as called for in the online application. Once a

grant is approved, and music is ordered and shipped, TMEA will pay the supplier directly.

Who Can Apply: Active TMEA Members teaching middle school band, orchestra, or choir (grades 6–8) When: September 15–October 15, 2014 More details will be available online August 15 Where: www.tmea.org/msgrant For What: Sheet music only For How Much: A maximum of $1,000 per division (band, orchestra, vocal) per campus will be awarded Notification: Applicants will be notified by November 15 of acceptance or rejection Questions? Email Deputy Director Frank Coachman at fcoachman@tmea.org

THE UNIVERSITY OF TEXAS AT TYLER SCHOOL OF PERFORMING ARTS DEGREES: Bachelor of Music Instrumental Music Education Vocal Music Education Instrumental Performance Vocal Performance Piano Pedagogy Piano Performance Composition

T Y LE R 903.566.7450 www.uttyler.edu/music 24 Southwestern Musician | August 2014

Bachelor of Arts in Music Master of Arts Minor in Music

Introducing Kaplan Vivo and Amo, violin strings designed to combine the richness of gut with the projection of synthetics. Now, even the most reďŹ ned players can discover new dimensions in their sound while wielding greater control over their musical voice.

This is a new era of classical music. Be a part of it.

With Kaplan, the movement begins now.

ORCHESTRA NOTES IN MEMORIAM LISA PRANTER DECEMBER 6, 1964– A PRIL 23, 2014 DORIS GRIFFITH August 5, 1926–May 25, 2014

IMPORTANT DATES August—Attend your fall Region meeting.

August—Renew your TMEA membership and preregister for the 2015 convention.

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

August 20—Liability insurance through TMEA expires.

September 1—Deadline to submit All-State etude errata to the State Orchestra Chair.

September 15—HS String Honor Orchestra online entries due.

October 1, 6 a.m. CT—TMEA convention online housing reservation system opens.

October 15—Postmark deadline (two-day delivery) for HS String Honor Orchestra CDs and other entry materials.

October 18–19—HS String Honor Orchestra judging.

October 25—Area recording date.

November 8–9—First and second rounds of All-State CD judging.

December 31—TMEA convention mail/fax preregistration deadline.

January 22, 2015—TMEA convention online preregistration deadline.

February 11–14, 2015—TMEA Clinic/ Convention in San Antonio.

26 Southwestern Musician | August 2014

Leave some margin in your life B Y

C R A I G

N E E D H A M

L

et’s face it; you often have too much to do. The work of a music educator comes in a wave starting as a gentle ripple as you pass out literature at the beginning of a concert cycle and growing in fury as a performance nears. The moment the final chords are struck, the ripple of the next wave stirs around you as the cycle continues. Many times waves overlap and crash down simultaneously—this is when you hope you remember how to swim and are grateful for a life jacket.

In these times, survival is often simply a matter of willpower, but there are ways to better prepare for storms. A life lesson taught to me by a wise friend, and reinforced over the years, is one I work to imprint on my students. Live your life with margin. In everything you do, prepare earlier and give yourself more time than you may need. This lesson has far-reaching implications and can shape virtually every daily decision. As an example to students, I often talk about what it means to be on time for rehearsal. How often do you find yourself running late because of unplanned events? You know the routine—the car was low on gas, traffic was worse than anticipated, you drove off and left something you needed because you were in a rush, forcing a return home, and there was no place to park once you arrived already late to your destination. Sound familiar?

As you make your goals for this school year, consider evaluating the margin in your life. You PD\ ÀQG \RX QHHG WR SULRULWL]H DQG HOLPLQDWH some activities.

I teach my students it’s better to be 30 minutes early than 30 seconds late. While I receive the obligatory eye rolls when I make this frequent speech, I can see this lesson affects my students when I notice them preparing earlier for rehearsals and hear them repeating this quote to each other. One dictionary definition of the word margin is “an extra amount of something (such as time or space) that can be used if it is needed.” Bingo!

Living your life with margin also refers to the number of events you allow in your life. I certainly did not follow my own advice this year! I found myself working seven days a week with my teaching job, conducting my church orchestra, leading a youth symphony gig, serving on the TMEA Board, and having all manner of family responsibilities. While I worked hard to maintain balance and learned to work at higher levels of efficiency, balancing all of this left me with little extra space. When life didn’t go exactly as planned, I was left with little margin to handle new challenges. I am determined to create extra space this year by eliminating activities and simplifying my world.

When you flirt with the edge of the cliff, it doesn’t take much to push you over the edge!

Improving organizational skill and efficiency can help simplify the day and can create more space. I condensed to a single to-do list this year by creating a spreadsheet saved on my Google Drive.

The list was available and editable on my phone, iPad, and computers. I also made it a priority to do the difficult things first.

By doing the things you have to do first, you will later have more time to do the things you want to do.

I can’t overstate how important it is to gain some control over the barrage of digital communications coming at us every moment of the day. I set my email to manual on my phone and iPad and turned off virtually all notifications. In addition to the tremendous savings on my battery, it also gave me control over when I view email. Now I view communications when I want to and don’t feel bombarded by them being constantly pushed to me.

These small changes can return great dividends of time savings and help create space for when it is needed.

As you make your goals for this school year, consider evaluating the margin in your life. You may find you need to pri-

oritize and eliminate some activities. You may find areas of inefficiency that need streamlining. When the waves crash and the winds blow, the extra margin will allow you to better weather the storm.

Honor Orchestra On June 20, Allen HS hosted the first round of Honor Orchestra auditions for Middle School/Junior High String, Middle School/Junior High Full, and High School Full Honor Orchestras.

Special thanks go to David DeVoto and Matt Cross for hosting an outstanding contest. In this first round, there were 21 middle school/junior high string entries, 14 middle school full entries, and 18 high school full entries. State finalists will be printed in the September issue and may be found at www.tmea.org under the Orchestra Division menu. Thanks also go to the first-round judges and others who worked so hard to make this contest happen smoothly.

Honor Orchestra Proposal A committee will be created to finalize details of the zoned Honor Orchestra proposal accepted at the Orchestra Division business meeting last February. The new rules will be outlined on the TMEA website on the Honor Orchestra rules page and detailed in a future magazine column.

Pending the work of the committee, the first contest under the new rules will be this fall’s HS String Honor Orchestra contest.

Clinic/Convention Update Our featured clinician for the 2015 convention will be Robert Gillespie from Ohio State University. Conductors of this year’s All State Orchestras are: • Philip Mann, Arkansas Symphony (Symphony Orchestra); • Jeff Grogan, New Jersey Symphony (Philharmonic Orchestra); and • Thomas Loewenheim, California State Univ/Fresno (String Orchestra).

All-State etudes were posted online May 1 and errata are updated as reported (with September 1 being the deadline for submitting errata). The TMEA website is the only official location for these errata.

Please check often for updates. They will be dated and listed in red. Orchestral excerpts will be available on the TMEA website during the TODA convention, July 27–30.

Region Meetings and More Please plan to attend your Region meeting. Region Chairs will ask you to complete the online volunteer form. Help your colleagues and our students by dedicating a little of your time—we need you!

Finally, congratulations and thanks go to Pat Leaverton and the wonderful TODA Board for hosting what I’m sure was another outstanding TODA convention (underway as this magazine was in the mail). Hopefully you were fortunate to attend this exciting event!

Southwestern Musician | August 2014 27

SMART PLANNING fosters student success

by Paul Sikes

T

he goal of teaching is to positively shape the future of our students. As teachers, we believe we can impact their lives for the better and move them to a place of success and independence. Before any of this can happen, however, we must know what that future looks like. To that end, plans are essential; they are key to shaping the future as we envision it. By planning for our students’ success, they are much more likely to learn what we want them to know and arrive at the desired destination.

To be most effective, plans should contain key elements to help turn them into action. According to online entrepreneur and author Pat Flynn, actionable plans should be SMART. They should be:

S

M

A R T

SPECIFIC—you should define exactly what you want your students to know or achieve; M EASURABLE —you should be able to determine if your goals have been met; ATTAINABLE —the students for whom you are making your plans must be in a position to respond to them; R EALISTIC—you should be able to accomplish them given your specific situation, time constraints, and goals; and TIMELY—you should set a specific date at which point your goals should be met.

Additionally, plans should be documented to help ensure you think them through, remember them, and adjust them when needed. Most importantly, your plans should be communicated with all stakeholders so that students, parents, and administrators all know what your goals are and how you plan to achieve them.

When creating SMART plans, consider developing them on three levels—macro, mezzo, and micro. Macro plans, or longterm plans, are the plans you set for your students that extend three to four years out. These plans include what you want your students to know and experience by the time they leave your program. Mezzo plans, or medium-range plans, are the specific competencies and experiences you want your students to have in 28 Southwestern Musician | August 2014

a semester or year. Micro plans, or short-term plans, are plans for each day and week. Each day should represent a small step toward meeting your mezzo and macro plans. When you develop these three levels of plans, you will better visualize the future you seek to create.

Macro Plans Consider macro plans to be your curriculum. A macro plan that is SMART will be specific in the details of what you want your students to know and experience. This may include tone, range, articulations, diction, rudiments, bowing styles, specific scales, and more. Additionally, setting out musical literature requirements that incorporate these competencies will ensure your students practice these skills within a musical context. This will also give your students experience with important composers. For instance, if you believe your brass students should know how to double-tongue before leaving your program, then program Rolling Thunder, which requires this particular technique. In this way, your students will learn a fundamental musical skill and experience one of the great march composers, Henry Fillmore.

Additional elements of a good macro plan include musical and extramusical enrichment activities. Musical enrichment activities might include having composers, soloists, conductors, and clinicians work with your students. You could also plan special concerts in unique or important venues, a student concerto competition and concert, or a student composer concert. Combining these activities could create more meaningful musical experiences for your students. When you bring in a soloist, have them listen to and work with the students who are working toward the concerto competition. In this way, you are creating outstanding musical experiences for your students while moving them toward a goal.

If you don’t know where you are going, you’ll HQG XS VRPHSODFH HOVH ³<RJL %HUUD

Extramusical elements of your macro plan are very important because, for many students, these are the events and experiences that add tremendous value to their time in your program. Events such as senior awards, junior dinners, and big/ little breakfasts for seniors and freshmen are events that your students can help plan and in which they find great pleasure. Another important part of many programs is travel. Although planning travel can be tedious, when done well it can lead to some of the best, most memorable experiences for your students. Planning trips and other cost-prohibitive enrichment activities on the macro scale allows plenty of time for fundraising and minimizes unwelcome surprises in both cost and participation.

By taking the time to make SMART plans, conscientious directors set themselves and their students up for success.

Mezzo Plans After you have developed your macro plans, consider your mezzo plans and begin to zero in on specifics, methods of evaluation, and appropriate goals, and then create deadlines for the upcoming year. One of the most important aspects of your plan is the literature your group will perform. Choose literature that will encourage hard work and success and that will meet your goals for exposure to different styles, composers, techniques, and more.

Review the specific fundamental skills you expect each student to know, and choose music to help them meet those goals. Finally, review all the academic and school calendars and set your performance dates accordingly, taking into account all outside events that will affect performance readiness and attendance.

Having these plans in place gives you time to study your scores and narrow your focus. Score study is the most important part of a rehearsal because, through study, you develop your mental image of the piece and begin formulating plans. While working through the score, mark expected performance challenges your students may encounter and develop strategies to teach these areas. Imagine you are planning to perform the Can Can theme from Offenbachâ&#x20AC;&#x2122;s Orpheus in the Underworld Overture. As a string player you know the spiccato bowing is going to be a skill that must be developed. You can now work up drills such as practicing on open strings or scales and incorporate these drills into your class early in the semester so your students have time to develop this skill. Also during score study, develop a timetable in which you plan the sections of music you expect to cover each week to meet your performance standards in time for the performance.

On the enrichment side of mezzo plans, invite the upcoming yearâ&#x20AC;&#x2122;s guest artists. Many composers, soloists, conductors, and clinicians require a year or more notice and should be contacted well in advance. Communicate with them in detail about your plans for them and their expectations. Both parties should have a clear understanding of the artist fee, what is expected, if there

Southwestern Musician | August 2014 29

are special parts or instruments that need to be ordered, etc. Also, create an itinerary that includes travel, lodging, and a daily schedule. Once it is finalized, share it with all stakeholders.

Mezzo planning also involves setting up specific timelines and procedures for your other musical enrichment activities (e.g., student concerto competitions, composition contests) as well as other events such as class experiences, socials, and details of the upcoming trip. In regard to the trip, an itinerary should be set with specific costs and a payment plan about one year in advance. This itinerary and cost structure should be shared with students, parents, and administrators as early as possible. This is also the time for the booster club to organize their fundraising efforts to ensure all events planned are funded.

Micro Plans Once you have your large scale plans in place and have completed some score study, set up your micro plans, or lesson plans. These are the plans that guide you through each rehearsal—the steps on a staircase that eventually lead to the suc-

cessful completion of your mezzo and macro plans. These plans should be made one or two weeks in advance, should evolve with your students’ progress, and should be SMART (specific, measurable, attainable, realistic, and timely). As you set your rehearsal schedule, each day of your plan should include time for role check and announcements, goal setting, warmup and technical drill, sightreading, working on current music, and for conclusion and evaluation. In each rehearsal, convey the importance of the specific skills and competencies required for success and ensure students know exactly when they should know them and how they will be evaluated.

Although mostly a mezzo- and macroscale event, use micro planning to ensure the enrichment side of your program is progressing toward the goals you have set. Each week communicate the progress of special programs, such as concerto and composition contests, to your students and plan to spend time with the participants regularly. Also plan to visit with those responsible for fundraising and planning events on a weekly basis so that you know what progress is being made.

RBC MUSIC COMPANY INCORPORATED

30 Southwestern Musician | August 2014

Regular communication, monitoring, and small changes on a weekly basis will help alleviate any unwelcome surprises later in the year.

SMART Plans in Action By taking the time to make SMART plans, conscientious directors set themselves and their students up for success.

When you thoughtfully consider every aspect of your program, determine what you want your students to know and experience, and decide how and when to teach it, you will create a vision of your students’ future and devise the road map to get there. Once you have this clear vision, you will be able to communicate it effectively with all those involved in making it happen—most of all, your students. The next step is simply putting in the work to make it happen. As influential management consultant, scholar, and author Peter Drucker said, “Plans are only good intentions unless they immediately degenerate into hard work.”

Paul Sikes is orchestra director and associate director of bands at Texas A&M University.

Invest

in our future

Texas Future Music Educators offers students who have an interest in a music education career support and information to help them prepare for their future.

TFME members who preregister may attend the annual TMEA Clinic/Convention on Friday and Saturday.

1. Go to www.tmea.org/tfme to create a chapterâ&#x20AC;&#x201D;itâ&#x20AC;&#x2122;s easy!

2. Market TFME to all high school music students.

3. Submit your chapter charter and dues to TMEA.

www.tmea.org/tfme For more information, email kvanlandingham@tmea.org

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

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

Sta r t a er chapt ll! this fa

!

New Convention Travel Reimbursement

Chapters can now request reimbursement of $50 per student for up to 10 chapter members for convention travel expenses. Take advantage of this new opportunity to reduce costs!

Southwestern Musician | August 2014 31

VOCAL NOTES IMPORTANT DATES August—Attend your fall Region meeting (see page 2).

August—Renew your TMEA membership and preregister for the 2015 convention.

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

August 20—Liability insurance through TMEA expires.

September 1—Deadline to submit All-State etude errata to the State Vocal Chair.

October 1, 6 a.m. CT—TMEA convention online housing reservation system opens.

December 31—TMEA convention mail/fax preregistration deadline.

January 10, 2015—Area auditions.

January 22, 2015—TMEA convention online preregistration deadline.

February 11–14, 2015—TMEA Clinic/ Convention in San Antonio.

32 Southwestern Musician | August 2014

The challenge of change B Y

D I N A H

M E N G E R

S

oon we’ll begin a new year, with new songs, new faces, new places, new parents, new rules, new UIL classifications, new All-State possibilities, new Region officers, new colleagues, new goals, new challenges—all of which offer exciting (and sometimes daunting) possibilities. From neophytes to seasoned directors, everyone will be wrapping their minds around new details in rehearsal halls and classrooms across the state.

For me, each new year can be likened to one of my most terrifying (and proudest) moments—riding the Slingshot at the Texas State Fair. One of the choral traditions at my former school was to take choir students to the State Fair and to see a great musical at Fair Park Music Hall. In a moment of false bravado, I made the mistake of bragging about having no fear of the scary rides along the midway. Of course, my students were listening and challenged me to get on the ride of their choice. I had to accept or hang my head in shame (I should have learned my lesson after a similar episode that ended in my jumping off a 32-foot cliff into the icy-cold waters of the Colorado River while on a trip with my church youth choir!).

I should have grown suspicious about their plans for me as we walked to the far end of the park—well away from the crowds. A sky-high behemoth that could have been used in a science-fiction movie about projecting someone into another time or world came into view. The two carnies working this steel contraption of death quickly put down their cigarettes as they saw us approach. My students grew frighteningly quiet and pale as they watched their choir director being carefully strapped into a spring-loaded steel ball connected to two long

Take advantage of the new All-State Small School 0L[HG &KRLU DQG VXSSRUW WKRVH GLUHFWRUV DQG students who can use this as a way to generate JURZWK DQG UHFRJQLWLRQ LQ WKHLU GHSDUWPHQWV

wires. Looming far above my head, as far as I could see, were steel pillars, the tops of which seemed to disappear into the clouds. The two little wires were attached to these pillars and would surely propel me into the heavens. I was a human catapult. What was I thinking?

As the workers strained to pull me back as far as they could for maximum velocity, what passed through my mind was the saying, pride goeth before a fall. They asked me if I was ready, but I couldn’t speak. My mouth was so dry that my lips were stuck to my teeth in a ghoulish grin. I simply nodded, and was suddenly launched into the stratosphere. After an initial moment of unspeakable terror, I actually had a blast! Far below me were tiny dots—the faces of my students looking up at me and praying they hadn’t led me to my demise.

As I landed safely back on earth, I was filled with a new sense of clarity. I had overcome my fear, shown my students that I was indeed a superhero (in my own mind, at least), and had found my new favorite ride! That experience has proven to be a reliable reflection on change in my life. Strap in, fling forward, and launch into the new situation!

Change Is Upon Us HB 5 is a new, important, and hardfought piece of legislation that affects our fine arts students and is in effect right now! My concern is that we, along with parents and our administrators, fully and clearly understand what this means for our students. As I listen to concerned teachers and parents across the state, it is clear that there is misinformation on and, in some cases, misuse of this new bill. The new list of required classes, along with the opportunity to include fine arts electives throughout middle school and high school, is a win-win situation if applied correctly.

Please stay on top of the implications of this wonderful bill in your school. Your parents are your best ally in making sure that local administration understands and correctly communicates degree plans

to your future choristers! Ask directors from other districts what is working (or not working) for their students. Use your advocacy sources in the TMEA office and online (www.tmea.org/HB5resources).

You have a mighty team working for you.

Another change that will affect many students this upcoming school year is UIL classifications. The new classifications will take some getting used to but, as UIL Director Brad Kent has carefully and calmly explained, the implications are few.

Concert & Sightreading contest guidelines remain the same for most unless the school, as a whole, has “graduated” to the next classification level. Both the UIL and TMEA websites offer complete listings of schools and their new classifications.

Make sure you have checked your school’s standing and make sure you convey this information to your students.

Texas Lutheran University School of Music

Youth Choir Festival For treble voices from grades 4–12 featuring Bob Chilcott,

PHOTO CREDIT: JOHN BELLARS

2015 Festival Conductor Saturday, January 24, 2015 9:00 a.m.– 5:00 p.m. | Jackson Auditorium For more information contact: Laurie Jenschke, festival director at ljenschke@tlu.edu or 830.456.3016.

SCHOOL OF MUSIC

To register online, go to www.tlu.edu/cma and click on the Youth Choir Festival link.

Southwestern Musician | August 2014 33

These new UIL classifications introduce the next big change, the addition of a long-awaited All-State Small School Mixed Choir. Friends, I charge each of you with patience and understanding as this new choir takes its first steps. This has been a long time coming and we hope it will serve well the students for whom it was designed. After listening to our membership for several years, gathering data, forming a small school choir committee, and writing and rewriting the rules, regulations, and options for this new ensemble,

the time has come to launch it!

The guidelines and steps for auditions are published on the TMEA website and provide opportunities for students in 1A, 2A, 3A, and 4A schools. Small school choral programs can enter individual students in either process. They will audition on the listed All-State repertoire (excluding the Area designated pieces). Those small school students who qualify for Area are encouraged to sing at their Region’s Clinic/Concert. They will then audition at the Area round on the two pieces des-

Learn more about the new All-State Small School Mixed Choir

www.tmea.org/smallschoolchoir

ignated for the All-State Small School Mixed Choir, along with a sightreading audition.

Take advantage of this new opportunity and support those directors and students who can use this as a way to generate growth and recognition in their departments and to allow 112 more singers from the state of Texas to share in the success and wonderful memories of the All-State experience—I certainly remember mine!

Our thanks go to the TMEA Executive Board members for their support, commitment, and belief in growth for all students from around the state.

Here’s to a wonderful year filled with great rides and great new heights! I am only a phone call or email away. I look forward to helping you in any way that I can.

CLINIC DAYS Clyde H. Wells Fine Arts Center

All-Region Jazz Saturday, September 13, 2014 · 1- 4 pm Performance by the Tarleton Jazz 1 Ensemble will follow the clinic.

All-Region Concert Band Sunday, November 16, 2014 · 1- 5 pm Performance by the Tarleton Wind Ensemble with guest composer John Mackey will follow the clinic.

BOTH CLINICS ARE FREE OF CHARGE Register for these clinics at www.tarleton.edu/clinicday 34 Southwestern Musician | August 2014

Dr. Matthew Vangjel Brass Trumpet

Bachelors Degrees Music Education

Performance Composition

Dr. Patty Fagan-Miller Woodwinds Bassoon Dr. Sara Stolt Woodwinds Clarinet

Music Marketing

Bachelor of Arts Masters Degrees Music Education Conducting Performance Piano Pedagogy &

Our music faculty is acƟvely involved in performing, creaƟng, and nurturing the next generaƟon of teachers, performers, scholars, and music industry professionals. Both graduate students and undergraduates have the opportunity to study with faculty members like these. Call or email to find out how you can be a part of the UTSA family.

Performance Vocal Pedagogy & Performance

facebook.com/UTSAMusic (210) 458-4354 hƩp://music.utsa.edu

EXHIBIT at the Texas Music Educators Clinic/Convention February 11–14, 2015 San Antonio

A P P LY O N L I N E S E P T E M B E R 3 W W W.T M E A .ORG/E X H I BI T S

Over 26,000 attendees expected!

Don’t miss this opportunity to connect with thousands of the best music educators in the nation!

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

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

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

trinity.edu/music

think. perform. explore.

36 Southwestern Musician | August 2014

B

GIN D I R

1+ 1 = 2 4

THE

GAP

Aa

G

What if science scores soared after you began reinforcing science facts in your music instruction?

Would your principal notice? Mine certainly did! Music teachers are already equipped with the tools that enable purposeful integration and cross-curricular connections with other academic subjects. We simply need to use those tools to help students realize those connections. While our primary role is to prepare our students musically through instruction in our music TEKS and more, if we can also reinforce learning in other subjects, why wouldn’t we?

BY L I S A R A I T R E W I N

T

hrough technology, literature, and games, you will find many simple ways to incorporate cross-curricular activities that have proven effective for enhanced learning of the TEKS while still keeping the main concentration on the music curriculum and standards. Many music teachers struggle to get enough instructional time with their students and find themselves needing to be an advocate for the value of music education. With the addition of crosscurricular instruction, we can show our administrators what a valuable resource we are. We can reinforce what students are being taught in their homerooms along with our curriculum.

ensure their success in all areas. Luckily, we teach one of the most fun and versatile subjects in our school, so we start from a very good place!

We have many resources available to us in our adopted curriculums, fellow faculty and district music specialists, and through technology. Music teachers just have to use those resources and point out existing connections. As you consider incorporating cross-curricular activities, review these three strategies that will help you achieve success:

Taking the First Step It might seem daunting to consider incorporating other curriculums and their key elements into our classrooms. Let’s face it, the reason we teach music is because that is where our passion lies—not in science or language arts. But our music curriculum doesn’t need to suffer simply because we also support other subjects. The good news is that everything we do as music teachers already incorporates subjects across the curriculum! In almost every activity we have already been doing, music integrates language arts, science, history, and social studies. We just need to identify those areas and emphasize them through our instruction. Our goal should always be to teach the whole child and help

2. Use existing materials and instructional resources to reinforce cross-curricular subject areas through musical experiences; and,

1. Establish mutually supportive relationships with faculty and administration;

3. Incorporate technology to engage students in activities that make learning fun and interactive.

Communicating with Faculty Meet with your principal at the beginning of the year and request 5–10 minutes during a faculty meeting. I would suggest doing this during your first week of meetings before school starts. Explain to your colleagues that you want to help reinforce their teaching of the subjects and concepts in which they believe Southwestern Musician | August 2014 37

students need extra time. Give each grade level teacher a simple form to fill out that day. If they don’t turn them in, visit them later to pick up the form and, if needed, take the time to ask them for feedback and write the concepts down yourself. Make it as easy as possible on the other teachers.

Take two or three concepts from each grading period and create musical activities that will reinforce those ideas. Most school districts have year-long scope and sequences available for subjects in all grade levels—get a copy of those lists to help make your lessons even more relevant. Incorporating these subjects not only helps the students, but your administrators and fellow faculty members will better understand the importance of what you do.

It is especially exciting when a teacher comes to me and asks for my help teaching a subject. This is my third year of emphasizing cross-curricular integration, and each year more teachers have sought out my assistance in helping them review problem areas. It is nice to know that faculty members understand what is capable through music instruction. While they might initially view it as a means to

an end, ultimately, they develop a deeper appreciation for music education.

One of the most important things you can do when implementing crosscurricular activities in your classroom is to use the appropriate terminology for each subject area. Do your math teachers say “remainder” or “left over” in their lessons? Ask each teacher for key terms and phrases the students should know. The teachers will appreciate your effort to not confuse the students.

Building the Bridge with Reclaimed Materials As you plan any music lesson, look for natural opportunities to point out connections to other subjects. You won’t necessarily need to create new lessons to offer cross-curricular instruction: • Rhyming songs: Display the rhyming words so students can see them during a lesson.

• Folk Songs: Discuss the history/social studies background for folk songs you teach.

• Illustrations: Ask students to interpret illustrations in their textbooks to

identify whether a song is fiction or nonfiction, to understand the historical connotations, genre, and more.

• Vocabulary: Help students read through the music or presentation slide first and discuss difficult vocabulary. When creating a presentation, do not crowd the pages with too many words, and highlight difficult words in a different color. Adding correlating pictures can also help your ESL students.

• Notation: Are you teaching notation values and then putting in a few math problems? This is one of the most obvious cross-curricular activities for your classroom; however, check the scope and sequence for each grade level to ensure you are not presenting problems that are too complicated for the students. Recently, I created a Koosh ball game on the whiteboard that incorporated area and perimeter using notation instead of numbers.

The students reviewed notation, addition, multiplication, area, and perimeter all in one fun activity!

• Picture Books: Do you read to

We Make Percussion Easy!

Steve Weiss Music’s Education Department is here to help you get what you need, within your budget. We have the knowledge to help you make quality choices, and the on-hand inventory to get it to you fast!

2324 Wyandotte Road Willow Grove, PA 19090 38 Southwestern Musician | August 2014

• • • • •

Best selection Best Price Always in stock Fastest shipping Knowledgeable specialists

(888) 659-3477 www.steveweissmusic.com

students and incorporate songs? Do you point out how rhythmical text is (especially in picture books)? I utilize a reading corner at least twice a month for K–second-grade students.

We sing picture books together or I’ll rap a story with a track behind it. My students love this, and it shows them how words and music go hand in hand!

Do you talk to the students about areas in which they would like extra help? Make it a fun Friday activity to take something they want to study and piggyback a song to help them remember. I’ve written raps using Quaver’s QGrooves (previously called QLoop) or QBackbeat to help my students in this way. They’ll love it and feel like they own it!

Engaging Students Through Technology With so many resources available online or from other colleagues, there is often no need to spend hours on a particular project. Of course, sometimes you have to create from scratch to get exactly what you need, but for the most part if you need something, it’s available. The key is finding a couple of hours to sit in front of the computer and search. When exploring for resources on the Internet, remember to bookmark anything that has the potential of being helpful. Sites like Smart Exchange or Project Share are constantly being updated with new resources, so don’t visit just once. Also, be sure to expand your Internet searches beyond the obvious categories. For example, you might find a game template that you can modify for a great cross-curricular activity in your classroom when searching under “money.”

While YouTube is a valuable resource, it can also be challenging to use in the elementary classroom because of advertising content, linked videos, and comments. To help resolve this issue, I use safeshare.tv. On this site, you can paste a URL from YouTube and the site will create a version of it with no content other than the video. Once the new URL is created, you can hyperlink it into any notebook or PowerPoint presentation.

When you do find something helpful or you create something fun, share with music teachers in your district! Send out a quick email or upload materials to a site like Smart Exchange to share with others.

It might be just the thing that someone else was looking for or didn’t quite know how to approach making. Other music teachers are our best resource!

Building Bridges Takes SASS When you begin recognizing and incorporating cross-curricular ideas in your planning, start with SASS: Search, Adapt, Show Significance, Share. If you thoughtfully approach each of these SASS steps, you’ll successfully keep music education at the core of your instruction, and along the way, offer even more to your students.

Piggybacking a song that you or the students already know is an easy way to get students to sing and review areas in which they are struggling. If the students are given a choice, they will often request a rap. And while this is fun and should be encouraged, what makes a song memorable is the melody! Take a song that is easy or that the students love and rewrite the words to help them with a specific subject. I recently did this with Taio Cruz’s “Dynamite.” I rewrote the words to support one of their reading strategies, PROUD (preview, read for understanding, omit wrong answers, underline, and decide). It was so much fun having students request this song and hear them singing it in the hallways!

There are many core curriculum and subject review songs available to use, but

one challenge with these songs is often the length. The songs are frequently so long that students have difficulty memorizing them, and that defeats the purpose.

When rewriting a song to help students review a subject, try using only the chorus of a popular song or a children’s song.

I’ve really enjoyed the new series from John Jacobson called “Science Rocks!” and “Grammar Rocks!” They have great accompaniment tracks and are easy to memorize. The goal is to have the students singing the songs as they leave your classroom.

Remember that as music teachers, we already use cross-curricular activities in our classrooms every day, so this should be easy. Simply expand on what you already do and make sure that administrators, teachers, parents, and students know it too. Yes, music does indeed have natural cross-curricular connections; however, those connections are only meaningful if we purposefully make them known. We have the rare privilege of teaching every child in our school, and because of that we have an opportunity to make a significant impact. Use that privilege and not only make your classroom a place of success, but the place that has a positive influence over the entire school.

Lisa Rai Trewin is a Music Specialist at Yeager Elementary in CypressFairbanks ISD.

Quick Horn Rinse

By ESW

QUICK HORN RINSE

Musician Owned for Musicians 303-313-1100, Ext. 0 Executive Systems West PO Box 440817, Aurora, CO 80044

www.QuickHornRinse.com

Keep your horn clean with a Quick Horn Rinse

SB Model For: LB Model For: Trombones Cornets Baritones Trumpets Euphoniums Flugelhorns Tubas French Horns Alto Horns Teacher Combination Available Southwestern Musician | August 2014 39

Visit Our Website www.peripole.com Register as a Site User and then Log In to receive: s 3CHOOL $ISCOUNTED 0RICING /NLINE s 0ERIODIC 3PECIALS s )NFORMATIVE !RTICLES )N /UR #OMMUNITY 3ECTION s -UCH MORE

HOME | ABOUT US | CONTACT | CATALOG | COMMUNITY | CART | LOG IN

Welcome Register as a new site user and enjoy online discounts.

Already registered?

Log in here.

Also, check out our new Special Offers section for additional money saving opportunities!

Now Free Shipping on All Orders Over $1,000!

Order must be placed and paid for online. 48 contiguous states only.

PARTNERS IN MUSIC EDUCATIONÂŽ

AEPA Vendor Learn about piggy-back bidding opportunities.

PARTNERS IN

Copyright 2012 Peripole, Inc. P.O. Box 12909, Salem, OR 97309-0909 Phone: 800-443-3592 | Policies

)NTRODUCING THE .EW

Our Triple Guarantee

TM

Quality and Workmanship Q Musical Function Q Price: We will match or Q

beat any advertised price on an identical item.

Safety-Snapâ&#x201E;˘ Breakaway Unit .OW /N !LL (ALOÂ&#x161; (ANGERS Superior Sound, Playability, Accessibility and Safety

800-443-3592 peripole.com #ONTACT US FOR A COMPLETE CATALOG OR TO RESERVE INSTRUMENTS AT 4-%!

MUSIC EDUCATION速 EDUCATIONAL DISTRIBUTOR

LUNA UKULELES

GUITARS

THE BOSTON CONSERVATORY STUDY MUSIC EDUCATION AT CONSERVATORY COLLEGE

WHERE MUSIC MATTERS Programs Offered: “The professors are of the highest quality, the education is excellent, the content is challenging, yet possible, and the program’s ability to work with individuals is unmatched.”

—Gail Mowry Gail Mowry currently works as a K-12 music teacher in the Midwest.

She is working towards her degree in Music Education at The Boston Conservatory from a distance, taking courses on campus in the summer and completing fall and spring semesters at home via video and phone.

100% JOB PLACEMENT IN THE MUSIC EDUCATION FIELD IN THE LAST DECADE

Master of Music in Music Education (with Initial Licensure) Master of Music in Music Education (non-Licensure program) Graduate Diploma in Music Education (with Initial Licensure) NEW! Master of Music in Music Education Autism Concentration NEW! Graduate Certificate in Music Education Music and Autism

HANDS-ON CLASSROOM TRAINING 18-MONTH DEGREE TRACK SUMMER AND EVENING CLASSES

Application deadline: April 1 For more information: Rhoda Bernard, Ed.D. (617) 912–9104 rbernard@bostonconservatory.edu www.bostonconservatory.edu/musiced

WANT TO LEARN MORE? LOOK FOR THE BOSTON CONSERVATORY BOOTH AT THE TMEA CONVENTION IN FEBRUARY.

We’re Orff and running!

B Y

C O L L E E N

R I D D L E

A

s the song made famous by Andy Williams reminds us, many people believe that the December holidays are the most wonderful time of the year! For me, however, the most exciting time of year is August.

I’ve relaxed, had some fun times with my family, reflected on the highlights and lessons learned from the previous school year, and attended several motivating and inspiring workshops. In August I’m reenergized and eager to get back to what I love doing the most—sharing my love of music with eager, curious, amazingly talented elementary students!

When you begin to design your music room and make detailed lesson plans for the coming school year, I encourage you to take advantage of the marvelous benefits of incorporating the Orff-Schulwerk method into your daily music lessons. In my previous articles, I have sung the praises of the Kodály method, and I use it daily in all of my music lessons. The Orff-Schulwerk method connects beautifully with the Kodály method. Each method can be taught concurrently while satisfying an abundance of TEKS objectives. Use folksongs from the Kodály curriculum and add the creative instrumental and movement elements of the Orff-Schulwerk method. Since students will be learning with combined methodologies, they will have more opportunities to use their creative, analytical, and problem-solving skills, and this will ultimately promote higher-order thinking.

Create your room layout to include an organized location for all of your rhythm instruments, xylophones, mallets, drums, boomwhackers, buckets, pitched and non-pitched instruments, and movement manipulatives such as ribbons, flags, scarves, and costumes. Establish a set method for you and your students to retrieve and return instruments and props quickly, easily, and calmly.

With routines and procedures in place, students can learn to set up and clear instrumental formations in just seconds. This leaves the maximum amount of class time for teaching.

The Orff-Schulwerk method uses movement in every lesson. Establish a place for dancing and movement to take place in your classroom. Unless you have an abundance of space, I would discourage the use of individual chairs for students. Students should have a designated place to sit on the floor when they enter the music room. This is also their special space to sit between transitions.

ELEMENTARY NOTES IMPORTANT DATES August—Attend your fall Region meeting (see page 2).

August—Renew your TMEA membership and preregister for the 2015 convention.

August 20—Liability insurance through TMEA expires.

October 1, 6 a.m. CT—TMEA convention online housing reservation system opens.

December 31—TMEA convention mail/fax preregistration deadline.

January 22, 2015—TMEA convention online preregistration deadline.

February 11–14, 2015—TMEA Clinic/ Convention in San Antonio.

An Orff-Schulwerk music teacher inspires children to explore, experience, and create. —A foundation for 21st-Century Learning Southwestern Musician | August 2014 43

Outstanding Music Administrator 2014 Peter Warshaw I am very grateful to the leadership of TMAC for this acknowledgement of my work and humbled to see my name listed with those who have been selected previously.

I salute the Leander ISD music faculty, recognizing that it is largely through their efforts and the success of their students why I have received this award.

I owe a great deal to my administrative mentors. First, to Mr. Cody Myers of Amarillo ISD, who welcomed me into TMAC in 2002 and has been a great friend and mentor ever since. Two other important mentors to me are Dr. Mike Mamminga, retired from Richardson ISD, and Mr. Richard Crain, retired from Spring ISD. They

have supported me throughout my career, and I try each day to rise to the standards they set both as administrators and as human beings.

I also am indebted to my late wife Lara, who had so much faith in my ability to succeed as a music educator and administrator. She is responsible for so much about me that is good, and it is her influence that leads me to strive to communicate openly and honestly, remain intellectually curious, and to pursue artistic excellence.

I believe this is a wonderful time to be a music educator. We are beginning to see the loosening of the grip of standardized testing, and the pendulum is starting to swing back towards increased awareness of the

value of fine arts. However, we cannot do this alone or take a narrowly focused approach. We must step past our self-imposed boundaries of our respective disciplines and/or classifications, and all work together to embrace and support what's best for music education and for kids.

Past OMA Award Winners

We Help Music Programs

1999 – Woody Schober 2000 – Henry Schraub 2001 – Mike Mamminga 2002 – Jan Schronk 2003 – David Lambert 2004 – Craig Welle 2005 – Camille Bach 2006 – John Kline 2007 – Larry Tucker 2008 – Bob Bryant 2009 – Nellie Ponikvar 2010 – Jim McDaniel 2011 – Jim Van Zandt 2012 – George W. Jones 2013 – Mitzi Jones 2014 – Peter Warshaw

• Examine/explore newest teaching strategies • Examine/engage in developmental assessment • Examine/implement latest music technology • Build community advocacy and support • Provide resource information • Problem solve “pressing” issues • Improve communication at all levels • Provide expertise on facilities, resources • Secure legislative support for the arts/music

Students should move from their individual seat numerous times during a lesson; activities should change as frequently as the age of the child. For example, a third grader should change activities every eight minutes. Even if you don’t follow that method, try not to have your students sitting for more than 10 minutes before transitioning to the next activity.

The Orff-Schulwerk method encourages varying activities to enhance learning, promote interest, and to help students maintain focus. A positive outcome of this philosophy, if followed precisely, is that discipline concerns in the classroom will be greatly minimized.

If your music room is small, students can use their seating space as their movement space. Give specific directions to help students develop a vocabulary of stationary and locomotor movements.

New teachers learn quickly to give specific directions about forming a circle.

Avoid saying, “Everyone make a circle!”

This can be a disaster waiting to happen.

Forming a circle can involve students following the teacher like a train while singing or reciting a rhyme until a circle is formed. My favorite way is to ask the students to pretend that the class is a square pizza. I ask the students who are the pizza crust to stand and then ask them to take two steps backward. Students who are still sitting are the pepperoni slices. I ask the pepperoni to stand and become a part of the crust. Voilà! Students have created a circle in just a few, quick seconds. Now the learning and fun can begin!

Learn More I encourage you to visit the OrffSchulwerk website for articles and videos describing the advantages of teaching elementary music the Orff-Schulwerk way.

Look for a local Orff chapter near you and for a list of Orff workshops in your area.

And be sure to attend the phenomenal Orff workshops during our 2015 convention. I’ll reveal our 2015 TMEA national Orff clinician in the September issue!

As your school year begins, take the opportunity to expose your students to the abundance of learning experiences that the Orff-Schulwerk method offers.

You might be surprised by the talent that surfaces from students who have felt isolated or invisible in the past. Look for extra smiles, bright eyes, and energetic spirits as your new year gets Orff to a great start!

TCDA Convention Many of you attended the TCDA Convention that was underway when this magazine was in the mail. Be sure to thank TCDA Elementary Vice-President Laura Rachita for her hard work in making the 2014 TCDA Convention a tremendous success.

2015 TMEA Clinic/Convention Would you like to have a behind-thescenes experience at one of the most successful music conventions in the country?

Volunteer for the 2015 TMEA Clinic/

Convention! Now is the time to get your name in before the spots fill up. You can request to be a presider, office helper, registration worker, door prize bagger, and more. You will meet fellow music teachers who will inspire you to up your game when you return to your home district.

It’s great fun while being amazingly rewarding and highly useful. Go to the TMEA website and complete the online volunteer form or email me at criddle@ aldine.k12.tx.us. Don’t miss this amazing opportunity!

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

Donald Hodges Lecture Series

Creativity at the Core Inspiration and Meaning for Music Teaching and Learning

Christopher D. Azzara, Ph.D Eastman School of Music The Donald Hodges Lecture Series features distinguished research presentations in the areas of Music Psychology, Music Learning and Music Technology. The series provides opportunities for students, faculty and community members to engage in discourse with the people doing cutting edge research in these areas.

Pianist, arranger, author, and educator, Christopher Azzara is internationally recognized as an innovator in the area of music teaching and learning. His research focuses on creativity and improvisation in the music leaning process.

Azzara is Professor and Chair of Music Education and Affiliate Faculty of Jazz Studies and Contemporary Media at the Eastman School of Music. He is the author of numerous articles, arrangements, and books, including Developing Musicianship through Improvisation and Jump Right In:The Instrumental Series.

september, 14th 2014 at 7:30 pm free admission

UTSA Faculty Center Assembly Room University of Texas San Antonio contact: susan.dill@utsa.edu 210-458-5322 Southwestern Musician | August 2014 45

Membership has its privileges B Y

COLLEGE NOTES IMPORTANT DATES August—Renew your TMEA membership and preregister for the 2015 convention.

August—Attend your fall Region meeting (see page 2 for details).

August 20—Liability insurance through TMEA expires.

October 1, 6 a.m. CT— TMEA convention online housing reservation system opens.

October 10—College Division Fall Conference in Austin.

October 15—Call for papers.

December 1—Essay contest entry deadline.

December 1—Composition contest entry deadline.

December 31—TMEA convention mail/fax preregistration deadline.

January 22, 2015—TMEA convention online preregistration deadline.

February 11–14, 2015—TMEA Clinic/ Convention in San Antonio.

46 Southwestern Musician | August 2014

M I C H E L E

H E N R Y

B

elonging to a professional organization such as TMEA is an important step in the process of becoming a professional music educator. College students who afford themselves of this opportunity have already begun to view themselves in this capacity.

Membership also represents a proactive effort at advocacy.

By adding their voice to thousands of other members in support of music education in our state, college students make an impact in their chosen profession. Membership provides access to a variety of opportunities and benefits for college students, and aligns them with others across the state who are pursuing the same path as well as those who are already teaching. So why wouldn’t a college student join TMEA? Many of them do! This past year, over 3,600 college students were members of TMEA. That represents a huge number of future music educators and others interested in advocating for music education early in their adult lives across our state. A total of 3,290 college students attended the 2014 Clinic/Convention— that’s over 90% of all college student members!

Yet it may surprise you to know that college student membership more than doubles during convention. In fact, only 818 college students were members during the fall of 2013. Because convention registration costs are waived for college student members, many may simply regard the membership fee as the cost of going to convention. Yet the membership year actually runs from July 1 to June 30 each year. Those who join at the convention are missing out on seven months of membership benefits.

TMEA has much more to offer college student members—more benefits, more opportunities, more services. College students are encouraged to join TMEA at the beginning of the school year, to take advantage of all these member benefits, not just attending convention.

• Discount membership—College Student membership is open to individual college students (undergraduate and graduate) for $20 annually. And while the Active membership fee is certainly affordable, this is an incredible

By adding their voice to thousands of other members in support of music education in our state, college students make an impact in their chosen profession.

bargain! Your discounted membership gives you almost the same benefits as an Active member (with the exception of voting privileges, holding office, or entering students in TMEA auditions). To join TMEA or to renew your membership, go to www.tmea.org/membership/join. â&#x20AC;˘ Clinic/Conventionâ&#x20AC;&#x201D;College students may attend the annual convention at no additional charge with paid membership. There are over 350 sessions and concerts offered at the convention each year, and special sessions and events are planned specifically for college student attendees. â&#x20AC;˘ Scholarshipsâ&#x20AC;&#x201D;TMEA offers scholarships to entering college students, current college students, student teachers, and graduate students.

This past year, TMEA awarded $207,500 in scholarships for college students majoring in music education at a Texas college/university! The deadline for scholarship application is November 15 each year. Go to www.tmea.org/scholarships for more information. â&#x20AC;˘ Job Fair/Job Servicesâ&#x20AC;&#x201D;At our annual convention, a job fair is held for districts and school officials to meet prospective music teachers. This is a wonderful opportunity for graduating college students to connect with potential employers in one room. Year round, TMEA offers a Job Services page on the website. Districts post positions and applicants post resumes.

Go to www.tmea.org/programs/jobs for more information. â&#x20AC;˘ Essay Contestâ&#x20AC;&#x201D;The annual College Student Essay Contest awards cash prizes for outstanding writing on advocacy topics. This year the prize awards have increased substantially.

First prize winners will receive $500; second prize winners receive $400; third prize winners receive $300â&#x20AC;&#x201D;in both the undergraduate and graduate divisions. The writing prompts for this yearâ&#x20AC;&#x2122;s contest have also changed, and the deadline for submissions has been moved to December 1. Find out more details at www.tmea.org/ essaycontest. â&#x20AC;˘ Composition Contestâ&#x20AC;&#x201D;New this year, TMEA is sponsoring a composition contest for college students (under-

graduate or graduate). Prizes will be awarded for the best original major ensemble compositions (band, choral, or orchestral) representing grades 1â&#x20AC;&#x201C;3 difficulty based on PML standards.

The first-place prize, or â&#x20AC;&#x153;Best in Show,â&#x20AC;? will be $500, and up to two additional â&#x20AC;&#x153;Best in Classâ&#x20AC;? prizes of $300 will be awarded. The winning composition will be featured at the annual College Division business meeting during our convention.

Scores of all winning compositions will be featured during the

College Division Research Poster session. For more information, go to www.tmea.org/compositioncontest. â&#x20AC;˘ Liability Insuranceâ&#x20AC;&#x201D;Active members, including college students, can purchase educators professional liability insurance through TMEA. College students who are student teaching or doing field work in the schools should strongly consider purchasing liability insurance just like any contracted teacher in the schools.

Policies can be purchased for $30. For more information, go to the TMEA

SACRED MUSIC AT OLLU

OUR LADY OF THE LAKE UNIVERSITY OFFERS: Bachelor of Music in Sacred Music Bachelor of Music in Sacred Music with a concentration in Mariachi Minor in Music THE PROGRAM EMPHASIZES: Choral conducting Ethnomusicology Mexican-American music Music ministry Music theory Music history Music technology Performance study

APPLICATION AND SCHOLARSHIP AUDITION DAYS The OLLU Music Department holds application and scholarship audition days in the spring.

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

&T 'NK\CDGVJ &[GT Ä˝ GZV Ä˝ GF[GT"QNNWUC GFW Ä˝ $ (KPG #TVU $WKNFKPI www.ollusa.edu/MusicDept Southwestern Musician | August 2014 47

website under the Membership menu to find Membership Benefits.

â&#x20AC;˘ Southwestern Musician Onlineâ&#x20AC;&#x201D; College student members are sent a link each month to the current issue of our magazine. SOUTHWESTERN MUSICIAN keeps you updated on legislative and advocacy issues, has dedicated columns like this one for each division, and provides feature articles on teaching strategies, and best practices. It is an invaluable resource for developing teachers.

5*6& 2014' ! & # * ( $ $ & $* ' % ! &

( """) ) +713, 552*8345 $ * .45' " * $ * .75

48 Southwestern Musician | August 2014

Act Now! If you are a college student, donâ&#x20AC;&#x2122;t wait until Februaryâ&#x20AC;&#x201D;join TMEA or renew your membership now to enjoy all of the privileges membership affords and to support this organization that works year round to ensure music education continues to be offered to every student. If you are a college faculty member, encourage your students to join TMEA at the beginning of the school year. Let them know about the opportunities for scholarships and contests throughout the year. They wonâ&#x20AC;&#x2122;t know unless we tell them.