February 2012 | Southwestern Musician

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Febr ua r y 2 012 Volu me 8 0, No. 7

features

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TMEA Distinguished Administrator Spotlight

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Learn about six Texas school administrators and their extraordinary support of music education.

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Winning the Job

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In today’s job market, it’s more important to be informed and prepared prior to seeking a job.

by pet er j. wa r sh aw, r ick ghinelli, and larry matysiak

Opus—Voyage—Coda Explore the collaboration between composer and conductor navigating the journey of commissioning a new work.

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Learn more about active music listening in the elementary general music classroom. by br en t gau lt

b y a b e l s a l d i va r r a m i r e z and justin freer

Listen Up!

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MusicMatters Four music educators offer their advice on successful end-of-year strategies. b y ja m i e y i m- ta l b e r t,

columns President’s Notes.................................................... 6

by Ross Boothman Executive Director’s Notes...................... 11

by Robert Floyd

todd berridge, kathy h ac k e t t, a n d m i k e m e y e r

updates Create Your Convention CPE Record/Free Convention Parking............................................................................ 4 You Didn’t Pre-register for the Convention?.................................................................................8

Band Notes................................................................... 21

by Chuck Young

Attend the First and Second General Sessions.......................................................................... 14

Orchestra Notes.................................................... 34

by Lisa McCutchan

Don’t Miss the Vienna Boys Choir....................................................................................................................................................... 14

Vocal Notes..................................................................50

by Janwin Overstreet-Goode

TMEA Clinic/Convention: It’s Only Days Away................................................................................................................... 25

Elementary Notes...............................................57

by Michele Hobizal

Thank You, Scholarship Donors............................................................................................................................................................ 78

College Notes............................................................73

by Richard Fiese

On the cover: TMEA President Ross Boothman, President-Elect John Gillian, and Past-President Denise Eaton.

Southwestern Musician | February 2012

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Editor-in-Chief: Robert Floyd

Creating Your Convention CPE Record

rfloyd@tmea.org 512-452-0710, ext. 101 Fax: 512-451-9213

Managing Editor: Karen Kneten kkneten@tmea.org 512-452-0710, ext. 107 Fax: 512-451-9213

TMEA Executive Board President: Ross Boothman rboothman@lumberton.k12.tx.us 8285 Ginger Lane, Lumberton, 77657 409-923-7858/Fax: 409-923-7819 – Lumberton HS

President-Elect: John Gillian john.gillian@ectorcountyisd.org 3624 Loma Drive, Odessa, 79762 432-413-2266/Fax: 432-334-7174 – Ector County ISD

Past-President: Denise Eaton dreaton59@gmail.com 20423 Cannaberry Way, Spring, 77388 832-452-8345 – Sam Houston State University

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Band Vice-President: Chuck Young cyoung@g-pisd.org 1911 Oak Ridge Drive, Portland, 78374 361-815-8482/Fax: 361-777-4272 – Gregory-Portland HS

2. At the convention:

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Orchestra Vice-President: Lisa McCutchan lisamccutchan@sbcglobal.net 17426 Emerald Canyon Drive, San Antonio, 78232 210-397-4759/Fax: 210-695-4804 – O’Connor HS

Vocal Vice-President: Janwin Overstreet-Goode joverstreet-goode@fisdk12.net 1406 Frontier Lane, Friendswood, 77546 281-482-3413 x 150/Fax: 281-996-2523 – Friendswood HS

Elementary Vice-President: Michele Hobizal sallyhobizal@katyisd.org 11003 Bergamo Drive, Richmond, 77406 281-234-0050/Fax: 281-644-1690 – WoodCreek Elementary

College Vice-President: Richard Fiese rfiese@hbu.edu 17415 Pikes Peek Court, Tomball, 77377 281-649-3228/Fax: 281-649-3313 – Houston Baptist University

TMEA Staff Executive Director: Robert Floyd | rfloyd@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 Membership Assistant: Rita Ellinger | rellinger@tmea.org Communications Manager: Karen Kneten | kkneten@tmea.org Financial Manager: Laura Kocian | lkocian@tmea.org Information Technologist: Andrew Denman | adenman@tmea.org

TMEA Office 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 Office Hours: Monday–Friday, 8:30 A.M.–4:30 P.M.

3. When you return home: '%

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Active membership and convention registration/ attendance is required for CPE credit to be granted.

Free Convention Parking with Shuttle Service Alamodome Lot B Thursday–Saturday

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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.

Subscription rates: One Year – $20; Single copies $3.00.

Periodical postage paid at Austin, TX, and additional mailing offices. POSTMASTER: Send address changes to Southwestern Musician, P.O. Box 140465, 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 1941–47 by Dr. Stella Owsley. Incorporated in 1948 as National by Harlan-Bell Publishers, Inc. Published 1947–54 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 Educators Association, whose official publication it has been since 1938. In 1954, the two magazines were merged using the name Southwestern Musician combined with the Texas Music Educator under the 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.

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Southwestern Musician | February 2012

by Ross Boothman

President’sNotes

In thankful service

he 2012 TMEA Clinic/ Convention is almost here, and I hope you will be able to attend. Our division VicePresidents have prepared a fantastic schedule of clinics and concerts for your benefit and enjoyment.

There are many pieces to the puzzle that make our clinic/convention work.

The Executive Board chooses and schedules the clinics, but the nuts and bolts that hold the event together originate in the TMEA office.

Our TMEA staff is an incredible group—nine dedicated people who make this convention happen. As soon as this convention is over, plans will be underway to make our convention in 2013 even better. Their passion for our profession and willingness to assist the membership at any time is a big part of the reason TMEA is viewed as the best association of its type in the nation.

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When you see a TMEA staff member during the convention, I hope you’ll offer your thanks. You will not find a better group of people anywhere, and we are fortunate to have them on our team!

My first column as President was centered on getting involved and serving our profession in some way, and as this year comes to a close, I would like to reiterate that sentiment. It does require time and effort, but I believe the learning opportunities and the relationships that are established are a significant return on your investment.

TMEA Past-Presidents Dr. Jeff Laird and Kerry Taylor will be presenting a clinic at TMEA centered on becoming a leader in TMEA. I hope you will make plans to attend this very informative and worthwhile session. The future of TMEA is dependent on the membership, office personnel, and those who are willing to serve in leadership roles.

The learning opportunities and the relationships that are established are a significant return on your investment.

6

Southwestern Musician | February 2012

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Performance in the Morning, Fun in the Afternoon See our complete brochure on the web at:

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Serving this great organization has been one of the best experiences in my career. It can be a part of your professional life also! Let your Region officers know you would like to be involved and are willing to serve. Our Region officers need to be sure to give some of our younger educators an opportunity to contribute to Region operations. It will only be through offering these members the chance to assist in some way that we will cultivate our future leaders and thus ensure the continued success of our organization.

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As this year comes to a close, I must take this opportunity to offer thanks to my coworkers and the administration in Lumberton ISD. Without their encouragement and support, I would not have been able to be a part of the Executive Board. I am also appreciative of my colleagues and friends in Region 10 who make southeast Texas a great place to teach!

Thanks also go to former TMEA officers who asked me to get involved and to my family, especially my daughter Lauren, who supported this music edu-

cator’s schedule as well as the additional time involved on the Executive Board.

In closing, thank you, the TMEA membership for what you do every day for your students. Texas is seen as the model for music education in our country. We would not be in this lofty position without your hard work and high standards. Let us make sure our work is always about our students making the best music possible while enjoying their time in our programs.

I hope to see you in San Antonio!

You Didn’t Pre-register for the Convention?

Don’t let that stop you from attending the best music educators convention in the nation!

ON-SITE REGISTRATION HOURS Wednesday: 1 P. M .–9 Thursday: 7:30 A . M .–6 P. M .

Friday: 7:30 A . M .–5 Saturday: 7:30 A . M .–2 P. M .

Register on-site in San Antonio at the following rates: (membership must be active and can be renewed when you register on-site)

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Southwestern Musician | February 2012

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n my column last February, I thanked our exhibitors for their willingness to support our convention in those difficult economic times. One year later, we find ourselves having experienced our worst funding cuts in public education in the history of the state and an economy that has by no means bounced back from a year ago.

Conditions certainly exist that could motivate a company to stay home this year to save money rather than make the trek to San Antonio to exhibit at TMEA. Once again, however, our sustaining members have defied the odds and signed up to exhibit at not only a record pace, but in record numbers. As I write this column on December 19, exhibit space is 99% sold out.

Their reason for attending, in my estimation, is threefold. First, any company wanting to be successful in a music-education–related business must both have a presence in Texas and com-

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plete a significant amount of their sales here. Second, our exhibitors recognize the value of face-to-face marketing. There is no better way to market a product or service effectively than one-on-one and in person. Countless trade show studies support this philosophy. Finally, as one longtime exhibitor told me in Chicago at the Midwest Clinic, “I am ready for my tacos and margaritas!” San Antonio continues to be a destination of which exhibitors never tire, and they always look forward to returning to the Riverwalk and all that the city has to offer.

So the final step in making for a successful trade show rests with you, the attendee. The number-one priority for exhibitors is that there be heavy traffic in the hall. The mass of teachers walking the aisles and learning about new services and products has a direct impact on whether they will return in 2013. We have allocated time in every divisional program for attending the exhibits, so I encourage

by Robert Floyd

Executive Director’sNotes

Exhibitors defy the odds

Not only are exhibitors a financial rock, they provide the latest instructional tools, technology, and instruments to help you be successful in the classroom.

Southwestern Musician | February 2012 11

From Here, Itâ&#x20AC;&#x2122;s Possible.

2012 Audition Dates Saturday, February 18 Saturday, February 25

806.742.2270 ext. 233 www.music.ttu.edu Lubbock, Texas

you to take advantage of that time block and more to learn about a new service or product. You can even plan ahead by reviewing the list of 2012 exhibitors to get a better idea of the number and variety of companies you’ll find in the halls (go to www.tmea.org/convention). Also, peruse the advertising in this issue (and in last month’s) to see what catches your eye, as exhibiting companies often advertise their presence and booth numbers in SOUTHWESTERN MUSICIAN. It cannot be repeated enough that the support of the music industry allows our membership and registration fees to be so reasonable, so not only visit as many booths as possible, but while there take a minute to thank them for supporting music education in Texas. Not only are they a financial rock, they provide you with the latest instructional tools, technology, and instruments to help you be successful in the classroom.

Meaningful industry support can never be a luxury we take for granted. Exhibitors, we thank you and hope you have a wonderful and productive convention!

General Sessions I encourage you to attend both of the general sessions during the convention.

As I am sure you know, our keynote speaker on Thursday is former Arkansas governor and former presidential candidate Mike Huckabee. As a strong music education advocate, Governor Huckabee passed strong legislation in Arkansas to solidify music education in their public schools. As a presidential candidate he espoused a message that to restore quality education in this country we needed to return music and arts education to the curriculum. Governor Huckabee is genuinely excited to come to our convention to speak and to perform with the Texas AllState Jazz Ensemble under the leadership of Wycliffe Gordon. His message will definitely transcend politics as he speaks to the heart of how we serve students in this country through music. You will not want to miss it, and I know you will give him the warm, heartfelt welcome of appreciation he deserves.

On Friday, Carl St.Clair, a native Texan, will deliver the keynote at the Second General Session. St.Clair is attending TMEA as the conductor of the All-State Symphony Orchestra and has agreed to share his thoughts on growing up and having the “fire in his belly” lit at

the TMEA Convention as an All-State band member when he was a junior in high school. His passion for music education and music making is unmatched, and he will inspire you and ignite your spirit for teaching. Of course, Friday you will also have the opportunity to hear the AllState Band, Orchestra, and Mixed Choir in concert and vote in the all-important President-Elect election. Don’t miss it!

It’s Not Too Late Governor Huckabee with be hosting

a luncheon of upper-level school administrators and legislators on Thursday immediately after the general session.

It is not too late for your upper-level school administrator to sign up, so take a minute to talk to your superintendent and to encourage attendance at both the First General Session and the luncheon. Have them call the office if they have not yet registered but would like to attend, and encourage them to also invite their legislators. For more information, go to www.tmea.org/adminregistration.

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First General Session Thursday, February 9

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Former Arkansas governor and former presidential candidate Mike Huckabee will not only be the First General session keynote speaker but will also join the TMEA All-State Jazz Ensemble in a special musical performance. Huckabee campaigned for the Republican nomination for President in 2008, in which he finished second to John McCain.

Throughout that campaign, Huckabee often championed the importance of music education.

Second General Session Friday, February 10

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Attend these annual meetings for the general membership of the nationâ&#x20AC;&#x2122;s largest music educators association.

Now celebrating his 22nd season as music director for the Pacific Symphony, Carl St.Clair has led orchestras around the world. St.Clair is a strong advocate of music education for all ages, and has been essential to the creation and implementation of symphony education programs. St.Clair is also the 2012 All-State Symphony Orchestra Conductor.

2012 TMEA Presidentâ&#x20AC;&#x2122;s Concert

P.M. Lila Cockrell Theater, San Antonio www.tmea.org/convention 14 Southwestern Musician | February 2012

TICKET INFORMATION If you purchased tickets online, pick them up at the Information booth on Wednesday from 1 P.M. to 7 P.M. (after that in the theater lobby).

Didnâ&#x20AC;&#x2122;t Purchase Tickets Yet? You might be in luck! Go to the Information Booth Wednesday after 1 P.M. to see if any $10 tickets remain available for purchase.

photo by Lukas Beck

Donâ&#x20AC;&#x2122;t Miss the Vienna Boys Choir!

tmea distinguished a dm inistr ator spotlight TMEA created the TMEA Distinguished Administrator award to recognize school administrators who have been instrumental in the many successes present in schools across our state. In this Administrator Spotlight, we are featuring some of the recipients of this distinction. The first installment of this series appeared in the January issue. To nominate your administrator, go to www.tmea.org/adminaward.

Vickie Bauerle, Principal Gorzycki MS, Austin ISD Nominated by Bradley Heckler I have worked in Austin ISD for 11 years now. In the past two years, we have suffered tremendous budget cuts that included laying off over 1,000 teachers and staff. My principal was told she would have to cut at least 4–6 positions during this transition.

With our school being only three years old, my choir/piano program is still in the building stages and lacked the enrollment the district wanted for maintaining a full-time teacher. Despite these challenges, Ms. Bauerle continued to support me and the choir/ piano program by keeping my position full-time so I could continue to develop a thriving program. The enrollment has more than doubled, and I have a successful group of students. I realize this growth and job security could not have been possible without a supportive, understanding principal such as her. I am deeply grateful for the opportunity to work for such a great person and to be at this campus.

Board of Trustees Brownsville ISD Nominated by Dr. Rebecca V. Rendon The BISD School Board of Trustees have been tireless supporters of our district’s fine arts programs. In the past several years board members have ensured that fine arts funding, facilities, and personnel are a major priority. With the current economic situation, districts suffered many budget cuts; however, our school board ensured that none of the fine arts personnel or budgets experienced reductions. In fact, the Department of Fine Arts received additional funding for our traditional, communitybased events so that our day-to-day operating budgets would stay intact. Board members frequently attend district fine arts events, and many of them are even active participants. Although their travel is limited, several have traveled to the TMEA convention to support our district’s All-State students. Our Board members have been steadfast in their recognition of the value of fine arts as a critical component in the educational system and have been instrumental in preserving quality music education programs in our district. BISD Board members are: Enrique Escobedo, Jr. President; Luci B. Longoria, Vice-President; Dr. Christina L. Saavedra, Secretary; Caty Presas-Garcia, Assistant Secretary; Minerva M. Peña, Member; Rolando Aguilar, Member; Joe Colunga, Member.

16 Southwestern Musician | February 2012

Dr. Vicky Giles, Superintendent Sheldon ISD Nominated by Judy Offman Dr. Giles had a vision and acted upon her vision. There was a high school choir and band program but no orchestra program.

She decided the best way to build a great high school orchestra program was to start with kindergarten students. She traveled to another Texas school district to observe their excellent Suzuki program and decided that excellence was what she wanted. Now, two years later, after budget cuts and all, we have four schools with outstanding Suzuki violin programs led by two instructors.

The parents must fully participate for their child to be accepted into the program. This mostly low-income Hispanic community has embraced the arts. Our students are performing around Houston, attending Suzuki violin workshops, and eight students even won scholarships to spend a week at a Suzuki violin institute in Dallas last summer.

Hartwell Brown, Principal Booker T. Washington JH, Conroe ISD Nominated by Nicole Elias Mr. Hartwell Brown is an administrator who is always showing his support of our arts programs. He is constantly reworking schedules, afterschool practices, and class times so arts students have opportunities to rehearse and perform as often as possible.

Our daily afterschool rehearsals often conflict with tutorials, sports practices, and games. Mr. Brown is always first to help rework a student’s schedule so they can make rehearsal. Last year the district pre-UIL performance conflicted with an important track meet. He worked with the coaches and all of the band students were able to make our performance. Mr. Brown also understands the importance of performance—the performing arts organizations are all allowed homeroom concerts whenever we believe our groups are ready. For these concerts, all the WJHS students are released early from their first block classes to attend.

Along with being willing to give us the time we need, Mr. Brown constantly checks on us to see how we are doing and if we need anything. The best part is that when he’s not openly showing support or asking how things are going, you know that Mr. Brown has your back. I am nominating Hartwell Brown for this award not because I have some amazing story about how he came through for me once, but because I have constant support and reminders of what a great administrator he is. It is a hard job to

make everyone on a campus feel like they are part of a family and that each part of that family is equal, but in this, Mr. Brown succeeds.

Christina Mank, Assistant Principal Dellview Elementary School, North East ISD Nominated by Margaret Cates Christina Mank became the Assistant Principal at Dellview Elementary School three years ago. Prior to her arrival, my schedule was full of extra morning duties that prevented me from using those minutes to develop additional music programs. Our students are highly involved in afterschool tutoring, so time for music activities beyond or before the normal school days was not possible. Ms. Mank worked to offer each of us more time to devote to our primary responsibilities—I was then able to expand the music programs after being freed from the extra duties that had consumed so much of my time. With her input and assistance the Dellview music program now includes a glee club, theatre arts club, afterschool strings classes, and a drumming club. The monthly PTA performances are organized through her office, and she encourages the participation of classroom teachers, as well as our art specialist and myself. In addition to all of the above, Ms. Mank has made it possible for one of our kindergarten teachers to assist with the glee club practice. The bottom line is that Christina Mank is an active advocate for our music programs.

She has given extra time and effort to the development of the

18 Southwestern Musician | February 2012

Dellview music program. I am extremely lucky to have her as one of my administrators and as a supporter of our music programs.

Dr. Gary VanDeaver, Superintendent New Boston ISD Nominated by Richard Lovelace Dr. VanDeaver has been a supporter and advocate of the New Boston band program since he took the job several years ago at midterm. I remember a trip to our local solo and ensemble contest just a month after he was hired. The band truck had a flat tire in the middle of nowhere en route to Paris, Texas. I notified the director of transportation, who instructed me to drive slowly on the flat to our destination. We finally arrived and were busy shuffling our entries through the contest process. On our lunch break I returned to the truck to find that the flat had been fixed. A witness told me that Dr. V and a friend of his had driven the 90 minutes to Paris and personally changed the tire (which was especially difficult given the truck is a full ton Ford cab with a 32-foot trailer, and the flat was on the truck’s rear wheel dual assembly). I freely admit I wouldn’t have even known how to begin the task! Since that episode, Dr. VanDeaver has increased the band’s operating budget, driven the band truck to state solo and ensemble contest, and has rigorously defended the retention of all our staff during the current state budget crisis. He is present at every major band performance and contest. I could not ask for a better boss.

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Choose Music.

Choose Houston.

UH is an EEO/AA Institution.

Moores School of Music Audition Dates February 4, 2012 (all areas except piano) February 18, 2012 (piano only)

March 3-4, 2012 (all areas)

www.music.uh.edu

In Memoriam ROLAND R. CHAVEZ March 19, 1949–December 4, 2011

by Chuck Young

BandNotes

Keeping them engaged WALTON D. “DON” HOOD November 15, 1933–December 18, 2011 BARBARA LOVETT BESSE May 29, 1926–December 21, 2011 WILLIAM FRANCIS MCBETH March 9, 1933–January 6, 2012 PATRICIA R AY OSBORN “PAT” NORTON October 18, 1935–January 8, 2012

and is not the kind of class where students are expected to sit and have teachers pour knowledge into their heads.

Band is a daily student-participation adventure. You can never predict the outcome of a rehearsal. And that outcome depends largely on what the students put into it.

Most band directors are never completely happy with their rehearsals.

Rehearsals are often too noisy, too disjointed, and afterward directors often reflect on the day’s events and can’t help but wonder if they really accomplished anything of substance. The pace of your rehearsal may be the culprit that keeps you from achieving the best rehearsal possible. What we may believe is fast-paced

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and exciting might seem slow and boring to a student. Spending precious time working like a madman with the clarinet section while other sections sit idly can send a message to some students that they are not as important. They lose their focus and are quickly mentally out the door.

There are several things you can do to combat this issue. First, involve everyone in the rehearsal. Move on to your next task and expect the clarinets to practice the troublesome part outside of class.

Don’t work one part to death while those not involved die of boredom. Next, ask your clarinets how much they can have ready by the next rehearsal. If you believe the amount is too little, then compromise with them. If they have 20 measures to prepare and believe they can master 10

What we may believe is fast-paced and exciting might seem slow and boring to a student.

Southwestern Musician | February 2012 21

by tomorrow, ask them for 15. Push them with high expectations but not beyond their capabilities. Save individual section issues and small issues for sectionals and focus on the larger group progress during full rehearsals. You must guide them to success for them to be able to achieve it.

Daily rehearsals can be fun if you keep all involved and playing. Believe it or not, that’s why they signed up for your class.

Stop as little as possible, make your corrections quickly, and move on. Yes, we all have to fix that one spot while the others

sit. If it can’t be done quickly then save it for the right time. Considering our students’ perspective might make it easier for us to understand this. When you are working that clarinet part to death, what are your trombones or percussionists doing? Do you really want to know?

Next, involve more students while you are fixing the small-group problems.

Keep them busy. It is necessary for directors to work with small groups of students during rehearsals. Mistakes do not go away by having the full group play the

passage over and over. The small performance problems involving just a few students have to be found and fixed before moving on. Have them all learn the part in unison or finger their individual part.

Unison teaching can save time and have very positive results. While you address the clarinet part that needs the work you’ll know exactly what your trombones and percussionists are doing during rehearsal! Put the rhythm on the board and play it on concert F. Have the clarinets and saxes play it, followed by the trumpets and horns, and on. Eventually the entire band will know the part—even your clarinets! The problem has been solved and everyone has been involved in the process.

Keep your students playing and you will find that you will have much happier students. They will also be learning a lot more. As you work with those smaller issues be aware of those who aren’t involved at that moment and strive to keep them in the rehearsal. In doing so you won’t ever have to wonder what your trombones and percussionists were doing during class.

2012 Clinic/Convention Update Our convention is almost here, and I hope that you are able to attend and looking forward to it as much as I am.

If you haven’t already, be sure to create a convention schedule online so that you have completed the first step in creating your Continuing Professional Education documentation. The personal schedule allows you to search for clinics, print your schedule, and save it to change it later.

Beginning February 1, handouts provided by clinicians will be available online via the personal schedule.

For more important details on arriving at the convention to complete the registration process, see page 25.

Important Dates February 8–11—TMEA Clinic/ Convention in San Antonio.

March 1—Honor Band entry deadline for Classes 1C, 1A, 3A, and 5A. March 1—Texas Music Scholar application available online.

April/May—Attend your spring Region meeting.

April–June 1—Submit clinic proposals for the 2013 TMEA convention.

22 Southwestern Musician | February 2012

UT ARLINGTON

Summer

Music

2012

Camps Band Camps Concert Band Camp For Grades 7-12

June 10 – 14

Marching Camp Drum Major, Colorguard, and Leadership

June 17 – 21

String and Choir Camps All-State Choir Camp July 29 – August 1

Summer Strings July 15 – 20

Texas Cello Academy July 30 – August 3

For more information, visit

www.uta.edu/music/camps or call 817-272-3471

2012 TMEA

CLINIC/CONVENTION ) H E U X D U \ ² Â&#x2021; 6 D Q $ Q W R Q L R I Tâ&#x20AC;&#x2122; S

O N LY

ON-SITE REGISTRATION Pre-registration has ended; however, you can still register on-site in San Antonio. Mailed or faxed pre-registration forms and payments received after December 31, 2011, are returned and not credited.

Active music educators: $70 Retired music educators: $15 College student members: (incl. in $20 membership) If you need documentation to request a check from your school, go to www.tmea.org/convention and to the registration information page.

ONLINE PERSONAL SCHEDULE You can create a personal schedule, retrieve it for editing, and print it. This is the first step for producing your CPE record after you return from the convention.

FREE PARKING Park for free at the Alamodome Lot B. TMEA provides free shuttle service to the convention center Thursdayâ&#x20AC;&#x201C;Saturday. Allow time for shuttle arrival or a half-mile walk. Directions and shuttle schedule are on the convention website. This lot does not include security, so donâ&#x20AC;&#x2122;t leave any valuables in your vehicle.

PRESIDENTâ&#x20AC;&#x2122;S CONCERT: VIENNA BOYS CHOIR Will-call ticket pickup and purchase of any available tickets to the Presidentâ&#x20AC;&#x2122;s Concert featuring the Vienna Boys Choir will be at the Information Booth Wednesday, Feb. 8, from 1 to 7 P.M. (following that, inside the theater lobby). The concert is Wednesday, February 8, at 8 P.M. in Lila Cockrell Theater.

DAY S

AWAY!

Registration Hours Wednesday: 1 P.M.â&#x20AC;&#x201C;9 P.M. Thursday: 7:30 A.M.â&#x20AC;&#x201C;6 P.M. Friday: 7:30 A.M.â&#x20AC;&#x201C;5 P.M. Saturday: 7:30 A.M.â&#x20AC;&#x201C;2 P.M. CONVENTION BADGE PICKUP Pre-registrants: Go to the pre-registration booth based on your last name.

On-site registrants: Have payment ready and when you reach the front of the line, go to an available computer to register. Active member on-site convention registration is $70.

Payment types: Visa, MasterCard, AMEX, personal or school check, cash, and approved school purchase order.

College Students: If your membership is active, go to the pre-registration booths. Otherwise, go through on-site registration to renew and get your badge.

Family Members: Family members of registered attendees are welcome to attend for $10 each, as long as they are not also music educators, music ministers, musicians, or college music students. Children under 12 are free if present at registration. Family badges purchased online are provided when you pick up your convention badge. You can also purchase family badges when you complete on-site registration, or later at the Visitors booth. On-site purchase requires your family member to be present.

w w w. t m e a . o r g /c o n v e n t i o n Southwestern Musician | February 2012 25

Coda

Voyage

pu O s

exploring the collaboration between composer and conductor

by Abel Saldivar Ramirez and Justin Freer fter receiving an invitation to serve as the 2011 All-State 4A Symphonic Band conductor, I knew the concert programming had to be special. I also wanted to take this opportunity to contribute something new and exciting to our wind band repertoire and to pay homage to my teachers and mentors back home in Texas from whom I have learned so very much.

My decision to commission a piece from Justin Freer, a Los Angeles-based composer and conductor, came when I began to reflect on the wonderful musical experiences I had as a graduate student at UCLA. I vividly remembered attending a DMA recital where a gifted graduate student and his peers performed an original work by Justin Freer for tenor saxophone, vibraphone, piano, bass, drums, and percussion section. After the performance I knew I would someday collaborate with this marvelous young composer. To date, Justin and I have continued to share ideas in the hope of positively contributing to the future of wind band music.

A

Participating in a Commission Whether you choose to take an active or passive role in the commissioning of a new work for wind band, you should consider the following questions (of course, each collaborating team 26 Southwestern Musician | February 2012

will establish their own criteria while working together): 1. Although some prefer total freedom, is the composer willing to collaborate with the conductor?

2. Is the composer willing to consider musical ideas that are not his own?

3. Do the composer and conductor have an appreciation for the educational and artistic elements?

4. Are the composer and conductor willing to communicate honestly about everything pertaining to the commission?

5. Will the composer and conductor maintain professional etiquette (e.g., by adhering to mutually agreed upon deadlines)?

Commissions can allow you to contribute to our profession by focusing on the creative process instead of simply responding to that which has already been created. For our profession to continue to prosper, we must take on the role of participant instead of spectator whenever possible. Admittedly, during the earlier part of my career I would occasionally find myself rushing to pass judgment on a new work without having first examined the score in detail, or after having listened only to a single recording. In all fairness to composers, conductors should form opinions only after a fair and thorough examination of the score.

Commissioning Basics Commissions with a strong sense of direction give the composer a better idea of where to start and offer the commissioner a more vested interest in the result. This direction can be as simple as naming who the piece is in memory or honor of or as complex as identifying the types of philosophical ideas the music should explore. Should the music exist as an embodiment of nationalistic fervor or express something closer to home, such as commemorating an important local historical event? The sky is the limit—a commission’s purpose has no boundaries. It is also important for the composer to understand the strengths and weaknesses of the ensemble for which they are composing and be completely aware of the ensemble’s instrumentation. Perhaps the ensemble will have a star player or section during the year in which the piece will be completed. This information could help the composer decide which soloists or sections to feature. It is also important to consider the duration of the piece before the composer begins writing as this will help determine the overall form.

Benchmarks and Parameters Should the new work in question play to the educational goals of the ensemble or simply adhere to the safety net of its skill level? A new work can make the ensemble work toward more advanced technique and overall musicianship. If music is to persistently push the gauntlet of musical, social, and cultural standards, then perhaps so should the ensembles performing it. As such, the conductor must make an effort to allow the ensemble to learn something new and grow as a musical unit. Obviously, these benchmarks or parameters should be discussed with the composer before the creative process begins.

Audience When commissioning a work it is important to consider audience appeal. After all, they are our patrons and should be included in the thought process. A conductor may wish to consider the in-person audience participation angle. When the commission is premiered, consider involving the audience in a more direct way (e.g., through pre-concert discussions about the commission or by bringing the composer on stage to briefly discuss the work just before its performance). Audience education is paramount if our musical heritage is to survive these challenging times.

especially young musicians, to internalize the music immediately surrounding them. It is also important for the conductor to consult with the composer as often as possible throughout the rehearsal process. Ineffective rehearsal strategies and techniques can prove fatal to a work with no performance or recording history.

Funding Depending on the size and scope of the commission, the cost of a commission will vary. The total cost can be affected by items such as the length and instrumentation of the work. Will the composer be brought in for rehearsals, the premiere, a recording session, or perhaps all three? Will a world-class (and costly) soloist help to premiere the piece? Some organizations prefer to underwrite the entire commission, while others prefer to attach themselves to a consortium of schools to distribute the cost. The conductor should discuss each of these items with the composer as they may discover that there are other institutions happy to participate.

Navigating the Commission Check all egos at the door, please! This point cannot be stressed enough. Artists can be passionate and often headstrong, and as a result, it is not uncommon for the composer’s ego to be at odds with the conductor’s. Working with new music can be daunting as the composer is creating something from within, while the conductor is interpreting a piece of music for the first time.

Each party will often bring strong ideas to the table. Reactions and criticism must be constructive and innocuous, otherwise you risk damaging the collaborative process. Music is about something greater than any one or two individuals—it is this idea that deserves the greatest attention. Composers should realize the music they create belongs to the world, and with that will come eternal interpretation of that music. Conductors should be cognizant that the music is created elsewhere, and with that, they should limit dictating to the composer items to be altered. The

Rehearsal Considerations Each work of music requires its own specific rehearsal techniques and strategies.

Before the first rehearsal, the conductor should study the score in detail and design an efficient rehearsal strategy. For example, if the music calls for offstage performers, it may be helpful to rehearse them separately.

While working on a concerto, the conductor may want to consider rehearsing with soloists separately from the ensemble to reach an agreement on all musical issues and goals prior to the full rehearsal. Sectionals can offer the most effective way for musicians, Southwestern Musician | February 2012 27

commission and collaboration should be about the music, not about the individuals.

Open Lines of Communication Collaboration between conductor and composer always works best with effective communication. To allow for immediate feedback, routine and detailed discussions should occur before and during the composition process, especially if the composer cannot be in attendance.

Some composers will be nervous when their music is read for the first time, and young, inexperienced conductors will often hesitate to enjoy a new piece at the beginning because the music may sound unrefined. Therefore, it is important to maintain open channels of communication throughout the entire process.

Patience While composers and conductors speak the same language of music, they often speak different dialects. The composer must give the commissioning ensemble time to learn the music without prejudging the potential of the work. Likewise, the conductor must give the music a reasonable opportunity to develop. Some conductors prematurely and adversely

You’re the Experts— Share Your Story!

Undergraduate programs performance music education jazz studies composition music production and technology music and performing arts management music theory music history music theatre actor training dance

Fall 2012 Entrance Audition Dates January 28 & 29 February 17 & 18

Graduate programs performance music education composition music theory music history Suzuki pedagogy conducting

TMEA members are encouraged to submit articles on topics relevant to music education for future publication consideration.

For article submission guidelines, go to:

www.tmea.org/magazine

Admissions | The Hartt School | University of Hartford | 200 Bloomfield Avenue | West Hartford, CT 06117 860.768.4465 | 860.768.4441 (fax) | harttadm@hartford.edu

www.hartford.edu/hartt Southwestern Musician | February 2012 29

700 performances each year 130 faculty artists and scholars 500 exceptional undergraduates

One shared passion

www.esm.rochester.edu/apply

react to the music in the beginning stages because of their lack of understanding or internalization. It is important to avoid this urge. The composer and conductor must be patient with each other as well as with the music. This is an evolution that takes time. When careful attention is given to these matters, the result can be magnificent.

Rehearsals and Recording Sessions It is important that conductors take advantage of living composers! The more a composer is involved, the easier it will be for the conductor to interpret the music.

The collaborative dynamic of having the composer, conductor, and ensemble working together in the same room can be magical. Additionally, there are items that can immediately be addressed during a recording session, such as part errors, balance issues, or optimal seating arrangements, and the composer can have valuable input on these. The notes can only do so muchâ&#x20AC;&#x201D;it is the collaborative process that brings new and exciting perspectives to the music.

Use of New Media It can be challenging for the composer to estimate the progress the ensemble is making during rehearsals. Twenty-firstcentury technology has significantly closed this gap. The conductor should consider recording and sending rehearsal

takes to the composer throughout the collaboration. Skype is an effective tool for live video communication, making the conversation a little more personal than one held via telephone. Social sites such as Facebook, Google+, and Twitter can be of great benefit. When the composer is unable to attend the premiere performance, the conductor should consider projecting a live, guest appearance onscreen in the concert hall via Skype or iChat for the audience. YouTube can also be utilized for the posting of concerts or even rehearsals. With these types of networking sites, the marketing process for both the composer and the commissioning organization is more user-friendly than it has ever been in our profession.

Ultimately, a commission should be about creating a new work of art.

Contributing to the wind band repertoire through a commission is something that should be approached with a sense of vision, passion, and commitment. Finding something special or unique about the commission can allow you to feel like you have something more than only time and money invested. The voyage can, indeed, be an extraordinary experience.

Abel Saldivar Ramirez is an Associate Professor of Music and Assistant Director of Bands at the University of Illinois School of Music. Justin Freer is a composer and conductor living in Los Angeles.

Southwestern Musician | February 2012 31

This comprehensive education tool brings harmony training, rhythm training and ensemble timing together in one convenient educator resource. It enables music educators to clearly demonstrate for students how to tune individual notes within chords, so that entire chords may be tuned. The HD-200 Harmony Director helps musicians understand how their parts fit into the complete harmony of the ensemble.

UNT College of Music Summer Workshops 2012 Pirastro Strings Elite Soloists Program Jeff Bradetich June 4-8

12th Annual Beginner and Intermediate Double Bass Camp Jeff Bradetich June 13-15

Flute! High School Masterclass Mary Karen Clardy June 6-10

Marimba Workshop Mark Ford June 18-22

Clarinet! High School Clarinet Workshop Kimberly Luevano June 7-9

String Orchestra Day Camp (Grades 5-12) Karrell Johnson June 18-22

Marching Percussion Camp Mark Ford June 11-14

Drum Major Camp Nick Williams June 21-24

25th Annual Bradetich Double Bass Masterclass Jeff Bradetich June 11-15

Vocal Pedagogy Workshop Stephen Austin June 22-23

Flute! Fundamentals for Teachers Mary Karen Clardy June 11-15 Lynn Seaton Jazz Double Bass Workshop Lynn Seaton June 11-15 Conductors Collegium Eugene Migliaro Corporon, Dennis Fisher, H. Robert Reynolds June 11-23

Flute! Repertoire and Performance Masterclass Mary Karen Clardy June 22-24 Vocal Jazz Workshop Paris Rutherford, Rosana Eckert, Gary Eckert and Jennifer Shelton Barnes June 24-29

Jazz Winds Workshop (Sx, Trpt and Trb) Brad Leali, Mike Steinel, Jay Saunders, Rodney Booth, Tony Baker and Steve Wiest July 9-14 Texas High School All-State Choir Camp Alan McClung July 11-14 Jazz Combo Workshop Mike Steinel, Brad Leali, Rodney Booth, Jim Riggs, Stefan Karlsson, Lynn Seaton, Ed Soph and more.

July 15-20 Middle School/Jr. High Honor Choir Camp Alan McClung July 18-21 Piano & Organ Wellness Sheila Paige July 23-31 Mariachi Summer Camp Donna Emmanuel July 24-28

Alexander Technique Phyllis Richmond July 6-7

For additional information contact David Pierce: 940-565-4092, david.pierce@unt.edu

Discover the power of music at: www.music.unt.edu

by Lisa McCutchan

OrchestraNotes

Are you teaching to the test?

In Memoriam CHARLES “PAT” JONES March 17, 1923–January 5, 2012

get really excited this time of year.

I look at the preparation for UIL contest to be most rewarding. As I reflect on my teaching years, I realize that I now view the preparation, the pre-UIL concert, and the actual contest differently than in my younger teaching years. In the past, I was much more stressed with the entire process. This stress level was driven by multiple motivators. For me, the biggest reason was that I did not adequately utilize the fall semester to prepare for the UIL contest season. At my middle school, we began sightreading in the second semester. I would prepare students on concert music, but I never really gave them any direction in how to sightread. Today, particularly in my non-varsity classes, we begin immediately with the sightreading process.

Another perspective I had in my earlier years was that the concert portion of UIL contest was a game. I would try to figure out what the judges wanted from my groups. Do they want me to concentrate

I

on rhythmic alignment more than intonation? Musicality over rhythmic alignment? Or simply just accurate notes? It wasn’t until my third teaching year that I realized the UIL contest was nothing more than another prepared concert.

Why should UIL contest motivate a better musical product than an annual fall concert or holiday concert? I finally began teaching my entire year with the same intensity as I used to approach the UIL season. I made sure every concert had the entire product: musicality, rhythmic alignment, intonation. At the start of my fourth year, sightreading became a weekly event in my orchestra room.

I no longer teach to a test; I teach to a performance. I embrace the UIL contest season as another opportunity to show off the strength of my groups.

2012 Clinic/Convention Update With our convention only days away, I hope you’re well into your planning and are ready for a trip to San Antonio! Be sure

I embrace the UIL contest season as another opportunity to show off the strength of my groups.

It is no longer a game. It’s a performance!

34 Southwestern Musician | February 2012

Music can be a rich part of your collegiate experience and a welcome break from the rigors of academia. Many of the students who participate in the various bands at SAU are not music majors, but represent virtually every course of study at the University.

We invite anyone who is interested in music to contact us and discuss the possibility of

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performance interests. We look forward to having you as a member of our ensembles!

J.P. Wilson Director of SAU Bands Low Brass (870) 235-4244 jpwilson@saumag.edu

Contact Us Sarah Mickey Assistant Director of SAU Bands Clarinet (870) 235-4253 skmickey@saumag.edu

Michael J. Britt Director of Percussion (870) 235-4240 mjbritt@saumag.edu

SAU Band Department P.O. Box 9385 Magnolia, AR 71754-9385

www.SAUmag.edu/Music or www.SAUmag.edu/Band

www.SAUmag.edu

UNT Symphony Orchestra

to create your online personal convention schedule so that you have the first step of your CPE documentation complete.

Many of our clinicians will have their handouts posted online as of February 1 (via the online schedule). Once again, the TMEA Executive Board has worked to provide you with an opportunity for professional growth. The convention is also an opportunity to hear wonderful performances of our All-State musicians and Honor Orchestras.

Judging Panels, Monitors, Presiders, and Facility Committee Members If you are not assigned to a judging panel but will be in San Antonio Wednesday night of the convention, come to the judges meeting at 5 P.M. in CC 206 in case we need last-minute assistance.

David DeVoto will coordinate the AllState judges meeting.

Each presider and facility committee member should have received information on their responsibilities and schedules. Contact me immediately if you have not received it. Man Vu is the facilities committee chair for this year. It is not too late to volunteer!

Thank You Region Chairs Please take time to thank your Region Chair. They work very hard and deserve our thanks for their commitment to TMEA. They are very dedicated in their mission to ensure a successful Region and All-State experience for all students.

Invited University Orchestra University of North Texas David Itkin, Director As the premier orchestra ensemble at the University of North Texas, the UNT Symphony Orchestra consists of 92 of some of the most talented student musicians from around the world.

Led by Maestro David Itkin since 2008,

the ensemble has toured extensively, including performances in Spain, Mexico, and throughout the Mediterranean. The orchestra has also performed in a number of premier spaces, including Alice Tully Hall in New York, the Meyerson Symphony Center in Dallas, Bass Hall in Fort Worth, and Cowboys Stadium in Arlington as part of the kickoff concert for Super Bowl XLV. Many high-profile guest artists have joined the UNT Symphony Orchestra on stage, including Edgar Meyer, Vladimir Viardo, Mariangela Vacatello, and Robert McDuffie. The ensemble has performed an impressive range of repertoire, from classical and choral masterworks to music from today’s top composers. The 2011–2012 season opened, for example, with a performance of Stravinsky’s Rite of Spring, garnering an overflow house and prolonged standing ovation. The orchestra will also premiere and record a major work by Jake Heggie in 2013. Last year, the Symphony Orchestra made a profes-

sional recording of three concertos with legendary saxophonist Eugene Rousseau, released by Jeanne Records.

In addition to the UNT Symphony Orchestra, the College of Music houses a second full symphony orchestra and a period-instrument Baroque orchestra.

More than 1,600 students choose UNT for their music studies, elevating the UNT College of Music to the largest and most comprehensive in the country.

Important Dates February 8–11—TMEA Clinic/ Convention in San Antonio.

March 1—Texas Music Scholar application available online.

April/May—Attend your spring Region meeting.

April–June 1—Submit clinic proposals online for the 2013 TMEA convention.

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

Symphony Orchestra Camp Strings, Winds, Brass and Percussion Grades 6-12

June 17-23, 2012 visit www.hsutx.edu/ASMF For more information contact: Heather Wood, Program Coordinator HSU Box 16230 . Abilene, TX 79698 (325) 671-2192 . asmf@hsutx.edu Southwestern Musician | February 2012 37

2012 TMEA CD/DVD ORDER FORM CD

DVD

CD/DVD BUNDLE

9821-MCD 9822-MCD 9823-MCD 9824-MCD 9825-MCD 9826-MCD 9827-MCD 9828-MCD 9829-MCD 9830-MCD 9831-MCD 9832-MCD 9833-MCD 9834-MCD

____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ N/A ____ N/A ____

____ ____ ____ N/A ____ ____ ____ ____ ____ ____ ____ N/A ____ N/A ____ ____ ____

____ ____ ____ N/A ____ ____ ____ ____ ____ ____ ____ N/A ____ N/A ____ N/A ____ N/A ____

9835-MCD 9836-MCD 9837-MCD 9838-MCD 9839-MCD 9840-MCD 9841-MCD 9842-MCD 9843-MCD 9844-MCD 9845-MCD 9846-MCD

____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____

____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ NEW

____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____

9847-MCD 9848-MCD 9849-MCD 9850-MCD 9851-MCD 9852-MCD 9853-MCD 9854-MCD 9855-MCD

____ ____ ____ ____ ____ ____ ____ ____ ____

____ ____ ____ ____ ____ ____ ____ ____ ____ NEW

____ ____ ____ ____ ____ ____ ____ ____ ____

9856-MCD 9857-MCD 9858-MCD 9859-MCD 9860-MCD 9861-MCD 9862-MCD 9863-MCD 9864-MCD 9865-MCD 9866-MCD 9867-MCD 9868-MCD 9869-MCD 9870-MCD 9871-MCD 9872-MCD 9873-MCD 9874-MCD 9875-MCD 9876-MCD 9877-MCD 9878-MCD 9879-MCD

____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____

____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ NEW

____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____

All-State Concerts

ALL-STATE CONCERT PRICING

Visit

Available in 10-12 Weeks CD/DVD TMEA All-State 4A Symphonic Band TMEA All-State 5A Concert Band CD DVD BUNDLE Booth TMEA All-State 5A Symphonic Band Any Single All-State Concert $15.00 $20.00 $30.00 TMEA All-State Jazz Ensemble 2 Different All-State Concerts 11.50 ea.

17.50 ea.

22.50 ea. #1941 TMEA All-State String Orchestra 3 Different All-State Concerts 10.00 ea.

17.00 ea.

20.00 ea.

TMEA All-State Philharmonic Orchestra 4 or more All-State Concerts 9.00 ea.

15.00 ea.

19.00 ea.

TMEA All-State Symphony Orchestra All 3 All-State Band Concerts 27.00 set 45.00 set 60.00 set TMEA All-State Women’s Choir & Men’s Choir All 3 All-State Orchestra Concerts 27.00 set 45.00 set 60.00 set TMEA All-State Mixed Choir Both All-State Choir Concerts 23.00 set 35.00 set 45.00 set Texas 2 Year College All-State Choir College TCCBDA/TMEA All-State Symphonic Band TCCBDA/TMEA All-State Jazz Ensemble TO ORDER ALL-STATE CONCERTS ATSSB/TMEA All-State Concert Band Small School ATSSB/TMEA All-State Symphonic Band _____ TOTAL Amount All-State CDs ONLY @_______ ea. $_______ Honor Groups _____ TOTAL Amount All-State DVDs ONLY @_______ ea. $_______ Band _____ TOTAL Amount All-State CD/DVD Bundles @_______ ea. $_______ University of Texas at Arlington Wind Symphony West Texas A&M Symphonic Band TOTAL All-State Concert (Enter Number Below) $_______ Baylor University Wind Ensemble Sam Houston State University Jazz Ensemble HONOR GROUP PRICING Queen City High School Band Waxahachie High School Band Available in 10-12 Weeks CD/DVD Coppell North Middle School Band CD DVD BUNDLE Westbrook Middle School Band 1-2 Honor Concert(s) $15.00 $25.00 $35.00 Complete Set of Band CDs $85.00 3-5 Different Honor Concerts 13.00 ea.

22.00 ea.

32.00 ea.

Complete Set of Band DVDs $175.00 6-8 Different Honor Concerts 11.50 ea.

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Winning the Job

by Peter J. Warshaw, Rick Ghinelli, and Larry Matysiak

O

nce upon a time, prospective job applicants in music education seemingly had their pick of open teaching positions. Each year, there were plenty of openings, and some positions even went unfilled. Hiring season was filled with intrigue about which school districts would be the best places to work, and the TBA convention job board overflowed with postings. It was common to see small groups of people actually conducting interviews in a remote corner of the convention center and administrators making job offers on the spot.

In todayâ&#x20AC;&#x2122;s economic situation, things arenâ&#x20AC;&#x2122;t quite so simple.

Itâ&#x20AC;&#x2122;s even more important for a job applicant to be thoroughly prepared and informed prior not only to seeking the job but also to winning the audition and receiving an offer.

Be educated Most people who work in human resources agree that the interview is a dual processâ&#x20AC;&#x201D;each side is assessing whether it will be a mutually beneficial fit. Applicants need to know the school districtâ&#x20AC;&#x2122;s and campus administratorâ&#x20AC;&#x2122;s educational philosophy as well as how they view the role of the music program.

Equally important is understanding the job description for which one is interviewing. The school clientele, student age levels, and artistic philosophy are all items that may influence whether or not this is a place where you would like to work every day.

In addition to asking questions of someone you might know

who works for the district, you can research district goals, accountability ratings, TAKS scores, and much more on their website.

Broaden your experiences Without dedicating extra effort to become better known, you could easily be overlooked. Some additional ways to garner positive attention are to:

educated and can connect with others in the profession;

good opportunities to make a good impression;

able learning experiences (if you donâ&#x20AC;&#x2122;t get hired to tech, ask if you can watch the rehearsal to learn);

history of success (you may be required to comply with all district regulations pertaining to visitors, and you should make an appointment with the director to ask questions about what you saw);

"

teacher experiences (the cooperating teacher can become a resource for you about other openings in the school district); Southwestern Musician | February 2012 43

RINGING MUSIC TO LIF

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2012 Admissions & Scholarship Auditions February 25th March 10th March 24th (Additional dates upon request)

Auditions are required of all entering and transferring music majors

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#$&' * < = virtually every fine arts administrator in the state attends (while it is rare for an actual opening to be filled there, it is an excellent time to make a positive impression); and

>

that help you determine if the job would be a good fit and that communicate to interviewers that you are serious about this position.

General Communication In todayâ&#x20AC;&#x2122;s job market, itâ&#x20AC;&#x2122;s imperative that an applicant makes a positive impression every chance they have. Each communication with a potential employer is an opportunity for them to eliminate your application from consideration.

Know whom to contact, and always be certain that your written communication is addressed to the proper person in the school district. Keep this written communication briefâ&#x20AC;&#x201D;the appropriate place for an applicant to explain their qualifications is in the interview, not in a cover letter or during a phone conversation.

If you are fortunate enough to receive a phone call or email requesting an interview, return it at your earliest opportunity.

RĂ&#x2030;sumĂ&#x2030;s and Cover Letters While rĂŠsumĂŠ content matters more than appearance, a poor presentation can imply an unwillingness to complete the detailed work necessary to provide an accurate document. If you send a personalized cover letter, be sure to use the correct name, spelling, title, school district, etc. Often, when sending multiple rĂŠsumĂŠs and form letters, it is easy to forget to change this specific information. Keep in mind these simple guidelines when designing your rĂŠsumĂŠ: #1â&#x20AC;&#x201D;Keep it simple: Your rĂŠsumĂŠ should be clean and readable, without typos or grammatical errors. Include standard information, such as your contact information, major instrument or voice, education and training, and work experience. Be prepared to explain any gaps in your employment history. If possible, limit the length to a single page (this may become more difficult as you acquire more experience). #2â&#x20AC;&#x201D;Keep it pertinent: Most interviewers care only about experiences that are applicable to the position you are seeking. Emphasize your education and

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Southwestern Musician | February 2012 45

experience that best matches the work you seek. Be sure to include any special training you completed to hone your musical skills and any leadership experi @ < >

Q Q= will an employer gain an accurate picture of what you have to offer? #3â&#x20AC;&#x201D;List your references: Since there is no doubt that interviewers will contact your references if they are interested in you, provide them up front.

Most applications require oneâ&#x20AC;&#x2122;s current supervisor as a reference (usually your Z@ <

out, potential references can include former employers, teachers, clergy, or adult family friends who can vouch for your character. Be sure to ask your references if they are willing to recommend you and permit you to provide their contact information.

Interview Your personality and how you conduct yourself during the interview have the greatest impact on your chances of landing the job. Many students, in particular, perform poorly in their first interviews because they

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vpa.syr.edu/ music 46 Southwestern Musician | February 2012

Make your mark.

Come to Syracuse.

donâ&#x20AC;&#x2122;t prepare, donâ&#x20AC;&#x2122;t dress right, and donâ&#x20AC;&#x2122;t know what to expect. You should realize that the person interviewing you will probably be about 20 years older and will expect you to show poise and maturity. â&#x20AC;&#x201D;Gulya Armstrong, Assistant Professor of Business, University of Nebraska You are on stage the minute you walk up to the building. Dress professionally no matter the circumstances of your travel. If traveling a long distance, arrange for a place to change into your interview clothes (not in the building where you are going to be interviewed). An interview is no occasion to wear anything designed to call attention to you, your clothing, a body part, or decoration.

Demonstrate professionalism, even in the reception area. Do not smoke, chew gum, eat candy, or drink anything except water. Make sure your cell phone is turned off.

Be on time. With the availability of online maps and directions, there is no excuse for getting lost or being late.

However, when your interview is scheduled, ask for a number you can call in case an emergency causes a delay in your arrival time. While you will send your rĂŠsumĂŠ in advance, bring several copies to the interview.

In an interview the only way to ensure a mutually positive fit is to be yourself. If you put on an act, and donâ&#x20AC;&#x2122;t get an offer, youâ&#x20AC;&#x2122;ll wonder if you would have been better off being more natural. If you do get an offer, you may have to continue that act for at least the next nine months!

There will likely be a team of interviewers, including the campus principal, fine arts administrator, human resources personnel, current faculty members in your subject area, and possibly a parent.

Make eye contact with the people to whom you are introduced, and shake hands confidently. Each may ask questions designed to allow you to address certain issues pertinent to them.

Make your interview comments positive in nature, and regardless of past situations, refrain from making negative comments about anyone. One of the people sitting across from you may be best friends with a person about whom you just made

@ guage in the interview, and avoid the use of slang.

s n o i t i d u A p i h usic s r a l Y o T fM h I o c l S S oo h 2 c 1 S VER

0 ass 2 B .

L 1 a 1 Y d n T 0 a I 2 W C A M OK

O H LA

February 3-4 March 9-10 To schedule an audition:

www.okcu.edu/music musicadmissions@okcu.edu

405.208.5980

I N U

BACHELOR OF MUSIC Performance

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at Angelo State University 2012 Auditions: January 21, February 24 and February 25

ANGELO EDU DEPT ARTMUSIC MUSIC s CALL MEMBER, TEXAS TECH UNIVERSITY SYSTEM

Interviewers generally ask four types of questions:

determining if you meet the general specifications for the position.

determining if your history and philosophies match that of the music program and school district.

predicting your future behavior based on the information you provide about past behavior.

eliciting more details about how you react and respond to various situations.

While it may sound simple, listen intently to each question before answering. Stay on topic, and be able to explain your answers or elaborate if asked. Keep in mind that some questions are designed to elicit a response but may not have a clearly defined, right answer.

Interview topics often include discipline management plans; skills in communicating and interacting with students, parents, colleagues, and administrators; approach to teaching a typical class; general strengths/weaknesses; attitude toward fulfilling duties outside your subject area; goals for an ensemble or class you teach; and your personal long-range goals. You may also be asked to problem-solve for a given situation.

It doesnâ&#x20AC;&#x2122;t hurt to ask an interviewer to give you a moment to think or to repeat a question (avoid doing this too frequently).

Sometimes the best answer to a tough question is â&#x20AC;&#x153;I donâ&#x20AC;&#x2122;t know, but hereâ&#x20AC;&#x2122;s what Iâ&#x20AC;&#x2122;ll do to find out.â&#x20AC;? You canâ&#x20AC;&#x2122;t know everything, and most interviewers appreciate the honesty.

When provided the opportunity to ask > = @ than asking about how many hours the job will require, ask about extra opportunities to learn. Avoid asking questions to which you can easily obtain an answer (e.g., most salary and benefits information is posted on school districtsâ&#x20AC;&#x2122; websites).

After the Interview At the conclusion, thank all of those present for their time and for the opportunity to interview. Always follow an interview with a short thank-you letter or email. This is another excellent opportu-

nity for you to restate your interest in the position.

While days may seem like years, try not to expect the worst if you donâ&#x20AC;&#x2122;t receive an update in just a few days. An administrator may be working to fill positions in many different subject areas during the same week. Most interviewers appreciate your desire to know, but thereâ&#x20AC;&#x2122;s a fine line between being persistent and being a pest.

If offered the job, you might be given a short period of time to consider it. Asking for more than 24 hours is excessive and may indicate you are playing one school district against another. Be open and honest; if you are considering other offers or accept another position, communicate this with the districts in which you interviewed. They will be grateful for your courtesy, which may be remembered at a future time.

What Not to Do There are certainly actions one should not demonstrate in the interview process that could eliminate your application from any further consideration. The following are generally agreed to be deal breakers:

ous jobs, coworkers, employers, or students;

[ follow instructions or policy;

"

Q Q information;

"

"

district or program.

Mind your Pâ&#x20AC;&#x2122;s and Qâ&#x20AC;&#x2122;s

concepts can help you stay focused on the task at handâ&#x20AC;&#x201D;winning the job.

Are you prompt, professional, personable, and prepared?

Are you being persistent and persuasive in your pursuit of the job?

Are you being pesky or pushy? This can place you in the questionable file.

And finally, nothing will quash your application faster than being perceived as a pain!

view may seem centered on you, the more important audition takes place in front of a group of eager young students who are waiting to be the beneficiaries of your knowledge. Your preparation for this final audition has to be extensive. The stakes are too high to fail.

Peter J. Warshaw is Leander ISD Fine Arts Director, Rick Ghinelli is Spring ISD Director of Performing and Visual Arts, and Larry Matysiak is Cy-Fair ISD Director of Secondary Music.

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Southwestern Musician | February 2012 49

by Janwin Overstreet-Goode

VocalNotes

Invited performing choir process ollowing the 2011 TCDA convention, a committee was established to identify and explore concerns specific to small-school choirs. The committee sent a survey in December 2011 to every TMEA member choir director teaching in 1Aâ&#x20AC;&#x201C;4A schools.

The first six questions were factfinding: school classification, grade levels and subjects taught, and whether the choirs participated in the TMEA All \' ]^ _

@ <

questions in the survey asked for more open responses from the directors. Over 250 directors across the state answered one or more of the open-response questions. Two of the questions were specific to the All-State audition process and will be addressed in a future column.

The following question generated a significant response: â&#x20AC;&#x153;Have you been involved in submitting recordings to the TMEA invited choir process? If not, what was your rationale for not doing so?â&#x20AC;?

F

Having in the past submitted CDs for consideration and also having served on the selection committee, I believe I have a good understanding of the process and the requirements that support success.

I submitted CDs for four years before my womenâ&#x20AC;&#x2122;s choir was selected to perform in 2001. I was ultimately successful because I asked the advice of previously invited performing choir directors. This advice was specific to providing the best audition tape possible to highlight my

[ @ <

[ second appearance at the TMEA convention, I was privileged to serve on a panel with Invited Performing Choir directors presenting a clinic. We addressed questions from the audience, discussed how to be successful in the process, and how to prepare an audition CD for optimal effect. This panel session, with 2012 Invited Performing Choir directors, is scheduled during our upcoming convention on Saturday at 8 A.M. I hope you will consider attending if you would like more

Performing at a TMEA convention is a challenging, difficult, and demanding experience, but it is well worth it for the choir and director who make the effort to attain this goal.

50 Southwestern Musician | February 2012

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For More Information: University of Mary Hardin-Baylor 900 College Street, Box 8012 Belton, Texas 76513 (254) 295-4686 www.umhbconservatory.org

information on how to submit a CD for the 2013 convention.

I believe it is important to know the specifics of the CD submission process, especially since survey responses indicated that some directors wonâ&#x20AC;&#x2122;t consider submitting a CD because they mistakenly believe the process is political. The assumption was that if you donâ&#x20AC;&#x2122;t know the right people, or teach in the right cities, or teach at a mega-5A school, you have no chance of being selected. In fact, only the state Vocal Chair knows which schools have submitted.

Selecting Invited Choirs The selection process works in the following way: the state Vocal Chair creates a committee of choir directors with proven track records of success (usually these directors have performed at one or more TMEA conventions). Committee members are representative of the categories submitted for consideration. The committee meets in mid-May (following the postmark deadline) and listens to every CD submitted. The groups are not identified to the committee members; the listening is conducted as a blind audition.

From theory to performance, it all sounds better from here.

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52 Southwestern Musician | February 2012

For more information: www.trinity.edu/music or call 210-999-8212.

The selection committee scores each choir individually, and at the end of the =

@ < `{|` convention I relied totally on the committee for the selectionsâ&#x20AC;&#x201D;they were completely objective given they did not know which schools or directors submitted CDs for consideration. We have a specific number of choirs to select, but there is no rule regarding how many per classification or voicing to be included. That is up to the discretion of the Vocal Chair and the selection committee, based on the number and quality of entries.

This year, to address one of the concerns of the small-school choir directors, a concerted effort was made specifically to include at least one choir from a 1A, `'= }'

@ _ contacted for recommendations of successful small-school choir programs, and an invitation to submit a CD was extended to those directors as part of the effort to encourage participation from smaller schools. At the 2012 convention, one 3A and one 4A choir will be performing. Additionally, the choirs represent most of the geographic regions of our state, including choirs from the Valley and West Texas. Six of the seven areas are represented. And although four of the directors have previously appeared at TMEA, nine of the directors are appearing for the first time.

Another concern expressed in this open response was why the Invited Performing Choir process did not more closely mirror the process used by the Band and Orchestra Divisions in the selection process of their Honor ensembles. The choir process operates differently because of the variety of choral categories. Not only do we have school classification size to consider, we also have mixed, womenâ&#x20AC;&#x2122;s, menâ&#x20AC;&#x2122;s, chamber/madrigal, and college/university thrown into the mix. The selection committee listened to 119 CDs this year, considered nine different categories, and ultimately selected choirs from seven of the nine categories.

If you are considering submitting a CD, pay particular attention to both the quality and consistency of the recording. Since the selections have to represent two years (current and previous year), the recording quality and choral tone need to be uniform. The first selection on the recording should be very strongâ&#x20AC;&#x201D;always put your best foot forward. All of the songs on the

Competitive Scholarships & Performance Awards

Audition Dates January 28 – 29, 2012 February 25 – 26, 2012 (see website for details)

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

Music Department Faculty Jason Hoogerhyde, Department Chair

Conducting & Ensembles

Music Literature

Voice & Opera Theatre

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

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

Bruce Cain Carol Kreuscher Kenny Sheppard Oliver Worthington Dana Zenobi

Keyboard

David Asbury, guitar Delaine Fedson, harp Steve Kostelnik, guitar Eri Lee Lam, violin Tim Washecka, viola Hai Zheng, violoncello & string bass

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

Music Education Lois Ferrari Kenny Sheppard

Strings

Theory & Composition Jason Hoogerhyde Eileen Meyer Russell Kiyoshi Tamagawa

Woodwinds, Brass & Percussion Robert Cannon, trumpet Anna Carney, clarinet Susan Douglas, oboe David Guidi, saxophone Adrienne Inglis, flute Erin Martysz, percussion Eric Stone Miller, bassoon Brigette K. Parsons, horn Eileen Meyer Russell, low brass

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54 Southwestern Musician | February 2012

recording should be of high quality. Do not include songs with tuning issues or obvious mistakesâ&#x20AC;&#x201D;those problems can quickly devalue your audition CD and immediately eliminate your choir from

@ <

how to submit CDs or any other questions about the Invited Performing Choir process, attend the session featuring a panel of invited performing choir direc

^ = < ||= ~ A.M. in CC 001.

Performing at a TMEA convention is a challenging, difficult, and demanding experience, but it is well worth it for the choir and director who make the

@ < tion and further information, go online to www.tmea.org/choirapplication. The deadline to submit a CD application to perform at the 2013 convention is May 1.

Please support the 2012 Invited Performing Choirs at this yearâ&#x20AC;&#x2122;s convention; they are to be commended for their courage in submitting a CD and in following through with the commitment to appear before the choir directors of Texas.

2012 Presidentâ&#x20AC;&#x2122;s Concert Vienna Boys Choir Wednesday, February 8, 2012

2012 Clinic/Convention Update If you havenâ&#x20AC;&#x2122;t already, be sure to create a convention schedule online so that you have completed the first step in creating your Continuing Professional Education documentation. The personal schedule allows you to search for clinics, print your schedule, and save it to change it later. Know < |=

vided by clinicians will be available online

#$&' @ <

arriving at the convention to complete the registration process, see page 25.

Important Dates February 8â&#x20AC;&#x201C;11â&#x20AC;&#x201D;TMEA Clinic/ Convention.

March 1â&#x20AC;&#x201D;Texas Music Scholar application available online.

April/May '

meeting.

Aprilâ&#x20AC;&#x201C;June 1â&#x20AC;&#x201D;Submit clinic proposals online for the 2013 TMEA convention.

May 1â&#x20AC;&#x201D;Postmark deadline for the 2013 TMEA convention performing choir application.

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Southwestern Musician | February 2012 55

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56 Southwestern Musician | February 2012

ebruary is such a great month for music teachers! “Here’s a Love Song!” always has the kids squealing, rolling eyes, and yet somehow very eager to sing with enthusiasm. I like to use old favorites in my plans, including “Skinnamarink,” “Love Somebody,” and “Roses Are Red.” In the past, I have taught a couple of songs to each grade level and recorded each class singing the songs. We then give a CD of their recording to the homeroom teacher as a Valentine’s Day gift from the class.

This is also an excellent time to step back and review what your students know and what needs to be retaught or reinforced. Debbie Anderson and Phyllis Thomas created a great SMART Board CD called SmartBoardNow! (volume 4). In this edition is a great tool for reviewing and assessing notes and rests called “It’s a Bird! It’s a Plane! Flying

F

High with Notes and Rests!” This activity includes everything from whole notes to sixteenth notes. It’s a great way to evaluate your students!

Promethian users can incorporate a lesson by Cheryl Flaming to help solidify students’ knowledge of the names of the lines and spaces of the treble clef staff.

Use the following link to access that lesson: www.tmea.org/smlink/feb12-elem1.

For those of you taking the old school approach using an overhead projector, place bingo chips on the overhead projector (or ELMO) to demonstrate note heads on the lines and spaces. Plastic film canisters provide storage for the bingo chips while laminated cardstock staves give students the chance to experiment with identifying and creating musical words.

The Super Bowl game is also a great opportunity to critique the singing of “The Star-Spangled Banner.” Celebrities

by Michele Hobizal

ElementaryNotes

It’s Super Bowl time!

Let us take our children seriously! Everything else follows from this . . . only the best is good enough for a child. —Zoltán Kodály Southwestern Musician | February 2012 57

have developed their own unique versions for singing our national anthem. Which one comes closer to the traditional verse?

It’s a great discussion for your students!

YouTube has many versions available for students to view. Use this link to check out an activity on SmartExchange to help you critique several past performances: www.tmea.org/smlink/feb12-elem2.

This activity will also be available on Project Share. Just imagine all the discussion generated after the Super Bowl that will not involve football!

58 Southwestern Musician | February 2012

2012 Clinic/Convention Update The 2012 TMEA Clinic/Convention is almost here! The goal was to give you so many options that you would have a hard time deciding which sessions to attend!

Here are a few reminders and tips to help make this convention fun and successful for you: 1. Create an online schedule: Go to www.tmea.org/convention to create your schedule online. This will help you allocate your time and will make it easier to complete your CPE record

online after convention. When you arrive at the convention, check the convention program for any changes.

2. View the clinicians’ session notes: If you cannot decide which session to attend, check out the clinicians’ session notes. Only active TMEA members will have access to the session notes beginning February 1. Some of you may still want to print session notes to have with you, or you can view the notes on your iPad or tablet.

3. Attend the Elementary Division business meeting: Be sure to attend our meeting at 6 P.M. on Thursday in Ballroom C2 and arrive a little early to enjoy a concert by The Biscuit Brothers! The drawing for over $4,000 in instruments and prizes will not disappoint. Brian Halverson (with our own Vanna girls—Carol Sullivan and Karen Bryan) will no doubt amaze you with the wonderful instruments and products received from our fantastic and supportive industry vendors. Don’t forget that he also hides prizes in the gift bags you receive when you enter!

4. Vienna Boys Choir concert: This concert on Wednesday, February 8, at 8 P.M. will be one to remember! If available, tickets will be sold at the Information Booth on the day of the concert, 1 P.M.–7 P.M. 5. Dress comfortably: Elementary music teachers do not sit at the TMEA convention. We are up moving around, playing instruments, folk dancing, and moving to the music. If you can dance and wiggle while wearing your stilettos or boots, go right ahead.

Just wait until you are in one of the

third-floor ballrooms moving to and with the music while the floor is also moving! Secondary directors just don’t realize all the excitement and fun they’re missing—only in Texas can it be this great!

6. Take time to go to the exhibits: Our wonderful and numerous vendors continue to exhibit every year! Two huge exhibit halls will keep you busy.

Our vendors help keep your costs down so make sure you tell them how much you appreciate their commitment to Texas music educators.

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www.clarkwfobes.com 60 Southwestern Musician | February 2012

The Biscuit Brothers to Perform at the Elementary Division Business Meeting The Biscuit Brothers television program was created by Damon Brown, Allen Robertson (Buford), and Jerome Schoolar (Dusty). It’s an Emmy award-winning television program produced in Austin and broadcast on PBS stations across the nation. It’s also a successful live show, touring and performing at events like the Austin City Limits Music Festival and Texas State Fair.

The Biscuit Brothers is a missiondriven project, dedicated to providing educational materials and programming designed to introduce arts-related content in a way that touches children’s hearts, engages their parents, and empowers families to learn together. They will be performing as the Elementary Division Business Meeting begins at 6 P.M. on Thursday in Ballroom C2—be early!

Project Share—TMEA Elementary Music Teachers Group Have you requested to join our Project Share group? Come join us! Go to the TMEA website, www.tmea.org, click on the Elementary Division from the Divisions & Regions menu item. On the main Elementary Division page, click on the link to join Project Share. This will give you directions on what to do to join the group. If you are having difficulties, email me at sallyhobizal@katyisd.org.

Important Dates February 8–11—TMEA Clinic/ Convention in San Antonio.

April/May—Attend your spring Region meeting.

April–June 1—Submit clinic proposals online for the 2013 TMEA convention.

June 15—Postmark deadline for the 2013 TMEA convention elementary performing group applications.

2012

Refine Your Passion

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Flute Seminar June 3-9

High School Band and Orchestra Camp Band Grades 9-12/Orchestra Grades 10-12 June 10-16

Band and Orchestra Directorâ&#x20AC;&#x2122;s Workshop June 10-15

Middle School Band and Orchestra Camp Grades 7-9 June 17-23

Summer Piano Institute June 24-30

All-State Choral Music Camp July 10-14

N E !

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Music is an aural art that stimulates ears and challenges minds, usually bringing a pleasure and satisfaction that transcends much of what is experienced in life. Most music is received through the ear, not the eye. And most music performed throughout the world is aurally transmitted and will never be written down.

Development of the ear is crucial to development of musicianship.1

L

istening is one of the primary ways individuals interact with music. Regardless of whether someone chooses a career as a professional musician, it is safe to assume that he or she will experience musical material via listening on a daily basis. Given this fact, it is no surprise that fostering the ability to listen to music attentively is commonly a chief goal of teachers in general music settings.

Teachers use recorded music representing diverse musical genres to help students develop and refine music listening skills.

They can focus on a variety of musical outcomes such as helping students identify musical form, recognize the timbre of various instruments, distinguish rhythmic and melodic themes, and develop an appreciation for different musical styles. Achieving these and other outcomes with recorded music requires an investigation of the criteria for selecting musical examples, the process for presenting music to students, and meaningful ways students could respond as they listen. There are a number of approaches 62 Southwestern Musician | February 2012

for helping students foster musicianship during the listening process. In this case, we will explore the role of an active experience during listening as a way of developing musical skills and concepts.

An Active Environment for Listening While music listening is a universal behavior, many listening experiences that happen in everyday life are passive. Individuals are bombarded with music that often serves as nothing more than a background for other activities, and this does little to develop the depth needed to appreciate the musical elements of a given piece. For listening to lead to meaningful learning, students must develop the ability to attend to, recognize, and communicate the musical information found within a selected piece. Since the elementary music classroom allows for the development of other active skills such as singing, moving, chanting, creating, reading, and performing on instruments, all of these can serve to communicate elements discovered in listening examples. Patricia Shehan Campbell defines this type of listening experience as engaged listening.2 Through engaged listening experiences, students are able to develop multiple musical skills simultaneously. In addition, active musical participation while listening to a piece of music can â&#x20AC;&#x153;underscore the presence of elements that are operating within

the music, and can bring a thorough analysis of musical structures in the process.â&#x20AC;? 3 The use of multiple musical behaviors during the listening experience also allows students to utilize aural, visual, and kinesthetic modalities as they interact with musical material. Within any given classroom, there are students who learn most easily using one of these three channels, and incorporating them all allows each student to experience music through their strongest learning modality as they develop their ability to learn through other channels as well.4 Considerations When Designing Active Listening Experiences As teachers begin to design listening experiences for their classrooms, they should consider the musical material, the readiness of the students involved, and the pedagogical procedures utilized. Teachers should strive to select music that conveys musical ideas in artistic and interesting ways. This is not to say that this music should be limited to one specific genre. Within all musical styles there are pieces that convey ideas in unique ways, and these are often the selections students enjoy and connect with as they listen.

Once the teacher has selected listening material appropriate for classroom use, multiple listenings should reveal the prominent musical features found within the piece.

These prominent features can serve as the focus for a given listening lesson and provide material for students to experience

through active musical behaviors.

The teacher should address studentsâ&#x20AC;&#x2122; readiness for the musical material, their understanding of the concepts being presented, and their experience with the musical behaviors utilized. Relating a new piece to elements in more familiar pieces is one way to help students connect to something already in their background. New musical concepts should be presented within the context of prior learning so students see the progression from what is known to what is new. Students should also have enough prior experience performing all musical behaviors required in a given lesson independently so they are able to perform these while also listening to a certain piece of music.

Combining engaging repertoire with appropriate pedagogical procedures is a final area of focus as teachers develop meaningful listening lessons. While there are many ways to approach listening in the classroom, I believe that all of these approaches share certain similar traits. These types of lessons often begin by reminding students of previously known musical concepts while also preparing students with the skills needed for the listening activity. In addition to being logical and allowing for the use of multiple musical skills and learning modalities, these lessons also

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Southwestern Musician | February 2012 63

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experiences to local, state and national audiences.

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Students sharpen their technique under the guidance of world-renowned faculty and perform in a variety of concerts and recitals each year on and off campus. By 2014, music and dance students and faculty will have a new $42.7 million Fine Arts Academic and Performance Complex to practice and perform in, while the public will have a state-ofthe-art venue to enjoy the spectacular productions.

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allow students an opportunity to participate expressively with the music to which they are listening. This opportunity to participate in an artistic way can help students form a deeper connection to the music and foster a heightened level of understanding.

Applying the Model: â&#x20AC;&#x153;Berceuseâ&#x20AC;? from Firebird

by Igor Stravinsky The following sample activity illustrates one way to utilize multiple active musical behaviors in a lesson focused on listening to a selected musical example. In this case, the excerpt is the â&#x20AC;&#x153;Berceuseâ&#x20AC;? from Igor Stravinksyâ&#x20AC;&#x2122;s Firebird.

Introduction

Berceuse!

2

2

4

4

16 4

4 16

4

3

Potential Instructional Goals: 1. To reinforce the melodic ostinato found in the piece.

2. To apply rhythmic movement that corresponds to the meter and form of the piece.

Suggested Procedures: 1. Students begin by echo-singing minor patterns after the teacher. I typically use a la-based system for singing minor scales.

2. Students listen to, learn, and perform the traditional round â&#x20AC;&#x153;Hey, Ho, Nobody Homeâ&#x20AC;? (many sources for this piece exist, including 150 Rounds for Singing and Teaching-Bolkovac and Johnson, page 25).

3. Students perform the song as a round with the teacher and with each other.

4. The teacher then sings an ostinato as the class sings the song in unison. After this, the teacher and students will switch parts and perform the melody and ostinato again.

R

R

no mi

R

one re

R

home mi

^

now fa

5. Students divide into two groups with one group singing the ostinato and the other singing the melody. Groups switch and perform again.

6. Students divide into three groups. Two of the groups perform the song in a round as the other group sings or plays the ostinato.

7. Students show the melodic contour of the ostinato with their hands and then decode this and sing on solfège.

8. The students view the visual, showing the ostinato and the formal picture associated with the section from â&#x20AC;&#x153;Berceuseâ&#x20AC;? that uses this ostinato (cloud).

9. Students echo-speak and read various rhythmic patterns.

The final pattern will match the rhythmic ostinato for the next section of â&#x20AC;&#x153;Berceuseâ&#x20AC;?:

R

R R

I

^

11. Students listen to â&#x20AC;&#x153;Berceuseâ&#x20AC;? as they view the visual for the piece (above). The numbers inside each cloud and moon indicate how many times students should perform the melodic or rhythmic ostinati. Each of the sun sections contains 16 beats. The following are suggested movements for each section of the piece: _ Â&#x201A; Â&#x192;

$

Â&#x201A; #

^ Â&#x201A; _

12. Students listen again and adapt the movements they utilized to perform as locomotor movements. One possible way to do this is as follows: _ Â&#x201A; ^

$

Â&#x201A; ^

^ Â&#x201A; Â&#x2020; Coda Developing the ability to listen attentively to music requires the same type of well-sequenced and meaningful instruction that all musical skills require. In combination with a multitude of others, the use of active musical behaviors during listening is one valuable way to foster this skill. Through this experience, students can develop an appreciation for repertoire while expressing the features of that repertoire in artistic and varied ways.

References 1. Patricia Shehan Campbell and Carol Scott-Kassner, Music in Childhood: From Preschool through the Elementary Years (Belmont, CA: Thomson Schirmer, 2006), 222.

2. Patricia Shehan Campbell, Teaching Music Globally (New York, NY: Oxford University Press).

3. Campbell, Teaching Music Globally, 92.

4. Walter Barbe and Raymond Swassing, Teaching through Modality Strengths: Concepts and Practices (Columbus, OH: Zaner-Bloser).

Brent Gault is an Associate Professor and Chair of Music Education at Indiana University Jacobs School of Music and is a 2012 Elementary Division Featured Clinician.

10. Students view the visual, showing the ostinato and the formal picture associated with the section of music that corresponds with the rhythmic ostinato (moon).

Southwestern Musician | February 2012 65

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KodĂĄly is ... ? a comprehensive, sequential program designed to foster an understanding and love of music ? an integration of many of the best ideas, techniques and approaches to music education universally proven to be successful ? intent on building musicianship through the singing of folk songs, classical music and other quality materials Featuring renowned faculty Drs. MĂ­chĂŠal Houlahan and Philip Tacka, authors of KodĂĄly Today and From Sound to Symbol, and Ms. Gabriela Montoya-Stier, author of El Patio de Mi Casa, the program takes three summers to complete and permits enrolled graduate students to earn six credits each summer.

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END - OF-Y E AR STR ATEGIES t’s not too early to have a plan in place for how you will continue to develop your students’ skills and knowledge as the school year comes to a close. We asked four music educators to offer their ideas about successful end-of-year strategies.

Take time to read all of the responses, not just those offered by the educator in your TMEA division. You will find that many of the answers are applicable to all music educators regardless of teaching level or ensemble type.

To view previous installments in this series, go to the interactive version of the magazine at www.tmea.org/magazine.

I

Once contest season is over, what are your educational objectives, and how do you keep the students excited and involved in the learning process?

Jaime Yim-Talbert, Barbers Hill MS Director of Bands, Barbers Hill ISD: After UIL contest, I immediately document each band’s strengths and weaknesses. Is there anything I can start fixing before the year is over? What can wait until the next school year? Are there things to emphasize with the sixth-grade beginners so we will have fewer problems next year? I keep band members informed of decisions that arise from these questions and explain what we will be doing based on them. During the last few weeks of school, I select pieces that cover the areas with which they struggled. The most important thing is to remain enthusiastic. You can’t make it seem like a hassle to still be working on rhythms, scales, demanding great tone production, and more. If you establish a mindset of hard work, dedication, and diligence with your students, they will always want to please and be better.

Todd Berridge, Permian HS Orchestra Director, Ector County ISD: Since our contest season is before spring break, it is a difficult task to keep the students (and teacher) focused on strong musical pedagogy. After a well-deserved break, our primary focus becomes small ensemble and chamber work. I also invite orchestra alumni to return and perform on our spring concert.

Not only does this create a strong alumni support group, it also pushes the current students to show off for the former members.

Lastly, music theory study becomes more in-depth. This includes a series of composer studies (classical and rock ’n’ roll), rhythms, and a crash course on sonata-allegro form. These students really love the “drop-the-needle” listening test.

Kathy Hackett, Plano West Senior HS Director of Choral Music, Plano ISD: We work to put into action what has been taught throughout the year. Fostering creativity and ownership is the name of the game. For example, our spring show is completely studentdirected with teacher guidance. Students are responsible for the areas in which they have an interest including choreography and staging, publicity and graphic design, ticket sales, vocal direction of soloists, and lighting and set design. Students also complete research projects and presentations on a variety of topics (e.g., Is rap really music?, What is this thing called opera?, The progression of rock ’n’ roll, and American musical genres). Other successful activities have included having students create an a capella jingle for a company that partners with our school district, touring feeder schools to perform, and bringing in guest artists. Have fun with the learning opportunities! It is amazing what teachers can learn from their students’ projects.

What is your approach to literature selection after concert contest?

JYT: Pick something fun! Make it fun for them and fun for you. Like most band programs, our spring concert is our last hurrah. To be honest, it’s my favorite performance of the year.

For weeks, we have been drilling for UIL, and the monotony affects not just them but their director as well. This is the concert where we get to relax a little and play the cool pieces! By no means have our standards changed, nor do we allow them to forget the fundamentals we worked on all year. In fact, I stress that we should sound even better! I purposely select challenging pieces Southwestern Musician | February 2012 67

for this concert. If the clarinet section struggled during UIL, I choose something that features them. I try to expose our weaknesses immediately as I believe this will only make them stronger in the long run. Use this music as a teaching tool!

TB: Spring literature is fun to choose and perform. I usually showcase students on concertos or sonatas accompanied by the symphony orchestra. This is a great way to feature some of our very talented students. I also use after-contest time to really work on chamber music. The lessons learned from chamber music are invaluable to the leadership of the ensemble. Three or four groups usually perform on the spring concert, completely independent of the rest of the orchestraâ&#x20AC;&#x201D;and director!

KH: Even when selecting lighter concert or show music, quality remains vital. Check words, ranges, musicality, composers, and arrangers. The teaching continues until the last bell, so everything must have purpose for performance and pride.

in spreading the word about your program. These teachers also have insight into each studentâ&#x20AC;&#x2122;s musical ability. Entering middle school, students are faced with so many electives. Why should they choose band? You must convince them! Our band also performs for the elementary studentsâ&#x20AC;&#x201D;the more times, the better. I bring small ensembles and have soloists perform. I usually feature the instrument I am lacking the most.

TB: Before the high school counselors come to their campuses in February, I ensure all middle school orchestra students have a graduation plan that includes orchestra all four years. By March, we inform students and parents when and where the auditions are, when new orchestra member orientation is, and where they can find the audition music and results. I also make it a point to be at all of my feeder schools on a regular basis. Once students get to know you and what you expect, it makes it an easier transition to high school.

KH: We visit schools whenever possible, send emails to teachers and students, and display posters inviting them to a concert or clinic when there is a guest clinician. In our meet-andgreet night, future students visit the choir room, meet students, play name games, have refreshments, and learn more during a

How do you make connections with the students and teachers in feeder schools to help prepare students to enter your programs next year?

JYT: Make yourself known. Since I teach middle school, I try to go to as many elementary concerts as possible (especially fourth and fifth grade). Meet and greet the students afterwardâ&#x20AC;&#x201D;you will be surprised how many know you already. Tell them they did a great job and that you canâ&#x20AC;&#x2122;t

wait for them to be in band next year! Itâ&#x20AC;&#x2122;s also important to be familiar with the fine arts and choir teachers. They will play a big role

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Southwestern Musician | February 2012 69

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question-and-answer time and a quick tour of the fine arts building. We invite parents on a separate night for a question-andanswer session, to visit the choir room, and meet the teachers and students. The Choir Parent Board explains the parents’ roles on campus and the Student Choir Council gives a presentation.

We invite the head counselor to offer scheduling advice. Feeder schools are also invited to perform on a concert with our choirs or show choir during the year. Giving discounts to feeders for a group of twelve or more for the spring show is helpful. Have fun!

While some aspects of these questions don’t directly apply to elementary music educators, we asked an elementary music educator to provide insight into the end-of-year general music education goals and strategies: Michial Meyer, Giddens Elementary School Music Teacher, Leander ISD: My educational objective is that by the end of the school year, every student completing fifth grade is prepared to participate successfully in music in whatever form they might choose.

To support that goal, grades one through five perform in a grade-level musical each year. Third, fourth, and fifth perform in the fall to avoid conflicts with state testing, and first and second grades perform in the spring. Programs are selected that will be challenging and also fun for the students. Each year they perform a different style from various time periods. Programs are pulled from outside sources or we write them in-house with music from many sources. We look for material that fits the current needs of the students involved. Grade-level performances are an important way for students to gain a sense of belonging to a group, working

together toward a common goal, and gaining self-confidence.

I see our students once every six days for a total of 29 times a year. Every lesson must cover as much information as possible.

I design lessons that cover multiple TEKS concurrently. Along with singing and matching pitch, I like my students to recognize same, similar, and differences between sets of pitches. I use “Hearing Music” by Morton Subotnick as a class activity and for individual assessment of each student.

Toward the end of the year, we use a variety of methods to practice our music reading skills. Fourth and fifth graders work with recorders and mallet percussion. I use the Bradley Bonner classroom method for recorder skills. After they have learned the selections on recorder, it also lends itself to mallet percussion skills. We review rhythm reading skills learned earlier with class drum activities. When my students leave after fifth grade, I want them to have an understanding of rhythm, know pitch names in the treble clef, be able to read and match them, and have an appreciation for a variety of styles of music. Know your students, always keep them challenged, keep things interesting, and above all else, have fun in music class.

Thanks go to our contributors for taking time to offer their ideas and experience. If you have follow-up questions, you can email them at the following addresses: Jaime Yim-Talbert (jtalbert@bhisd.net) Todd Berridge (todd.berridge@ectorcountyisd.org) Kathy Hackett (Kathy.Hackett@pisd.edu) Michial Meyer (mike.meyer@leanderisd.org)

Southwestern Musician | February 2012 71

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hile the familiar saying above refers to a fictional baseball diamond in Iowa, it could easily and aptly apply to the TMEA Clinic/Convention in San Antonio. With teachers from every level and area in mind, each divisional Vice-President has sought to offer a program with unrivaled depth and breadth of quality offerings that can directly translate to increased effectiveness in the classrooms and rehearsal halls across Texas and beyond. In a few short days after members receive this edition of SOUTHWESTERN MUSICIAN, we will be gathering together to observe, grow, learn, experience, share, and celebrate during what has grown to be the most incredible professional development event available to music educators anywhere on the globe.

The 2012 TMEA Clinic/Convention holds great promise for our association and for its members. Having emerged from a difficult fall semester, rife with some as yet unresolved questions about the future, it is important to recognize

W

by Richard Fiese

CollegeNotes

If you build it, they will come

that the clinic/convention has the potential to re-energize, redirect, and reconnect us with the profession we love in a way that is truly unique.

While the clinic/convention is arguably the crown jewel of our association, we should remember that throughout the year TMEA remains ever-present, supporting teachers committed to enhancing studentsâ&#x20AC;&#x2122; continued opportunities to participate in a comprehensive, sequential, and rigorous music education. As you, the members who serve our collective cause in the schools, are recognized across our nation as leaders in music education, so is TMEA recognized as a vibrantly strong and leading association.

Through our membership we are numerically strong. Through our conservative management we are fiscally strong. Through our continued collaborative efforts we are growing in our political influence. Because of our collective commitment to serve all students in Texas through a quality education that includes music, our mission also remains

Because of our collective commitment to serve all students in Texas through a quality education that includes music, our mission remains strong.

Southwestern Musician | February 2012 73

Music Education at Texas Tech 2012 Summer Graduate Coursework In Residence and/or Online Intensive Music Education Courses - as brief as 2 weeks (plus online component) For more information: Advising -

www.ttu.edu/music

Dr. Michael Stoune, Director, Graduate Studies michael.stoune@ttu.edu 806-742-2270 x255 Dr. Janice Killian, Chair, Music Education janice.killian@ttu.edu 806-742-2270 x264

SUMMER 2012 COURSES (all courses 3 credit hours)

Date June 4 - 15

Title

Instructor

Delivery

8am - Noon

Special Education in Music

Dr. Janice Killian

Residence or Online

8am - Noon

Styles in 19th & 20th Century Wind Literature

Dr. Peter Martens

Residence

1 - 5pm

Intro to Graduate Studies in Music Education

Dr. Keith Dye

Residence or Online

June 4 - Aug. 10

online

Technology Applications in Music Education: Advanced

Dr. Keith Dye

Online

June 10 - 22

8am-5pm

West Texas Kodaly Initiative (graduate credit available)

June 18 - 29

8am - Noon

Choral Conducting Workshop: Conducting as a Rehearsal Strategy

Dr. Carolyn Cruse

Residence

8am - Noon

Orchestra Directorsâ&#x20AC;&#x2122; Workshop

Dr. Bruce Wood

Residence

8am - Noon

Instrumental Conducting & Pedagogy

Dr. Sarah McKoin

Residence

1 - 5pm

Tests & Measurements

Dr. Janice Killian

Residence or Online

1 - 5pm

Harmony & Voice-leading with AP Primer

Dr. Peter Fischer

Residence

July 10 - 15

8am - 7pm

Band Directorsâ&#x20AC;&#x2122; Workshop Dr. Keith Dye (in conjunction w/ Band & Orchestra Camp, July 8-14)

July 10 - Aug. 10

online

Graduate History Review

Dr. Tom Cimarusti

Online

July 16 - 27

8am - Noon

Music and Learning

Dr. Keith Dye

Residence or Online

Residence

Residence

strong. It is because of our shared mission that TMEA provides its members an unequaled opportunity to grow as teachers, as conductors and performers, and as lifelong musicians. The most oft-repeated complaint most of us share following the annual clinic/convention is that it was simply impossible to attend every session or concert that one desired. This year promises to be no exception. For three full days of our professional congregation, members are encouraged to seek out opportunities to improve themselves in an effort to continuously improve instruction for the benefit of their students. It is this selfless dedication to students and to music on the part of in-service and preservice teachers that makes Texas musician education so robust and so worthy of the admiration it receives.

While retaining its focus on music education in Texas, the TMEA Clinic/ Convention has a national reputation and respected standing that is the envy of associations across the country. This is largely due to the Executive Board programming sessions and performances that represent the blending of tradition and innovation that is music education in Texas. All of

the divisional programs have stimulating and valuable offerings from which to choose, and members are encouraged to avail themselves of as many sessions and concerts as they can.

In particular, the College Division

program represents both the cerebral and the pragmatic in terms of content.

The program is not only concentrated on serving the members of the division but is also intended to appeal to all members irrespective of oneâ&#x20AC;&#x2122;s primary divisional

Southwestern Musician | February 2012 75

affiliation. Our invited clinicians, John Benham (whose successes in saving school music programs has been widely documented and serves as the model for defending and advocating on behalf of programs) and Steven Morrison (Director of the Laboratory for Music Cognition, Culture, and Learning and Chair of Music Education at the University of Washington) well represent how the College Division program has wide appeal for members. Moreover, the schedule is replete with high-quality sessions by leading music educators within our state and from across our country. These elements taken in sum represent evidence of what a professional music education association can and should be, and they demonstrate that our clinic/convention is an archetype of what a music education

conference can be. The Executive Board encourages every member to participate fully in all that the 2012 TMEA Clinic/ Convention affords.

It is also critically important to take the time to recognize and support the exhibitors who make possible so much of what we are able to accomplish as an association. In our current economic times, the decision on the part of vendors to purchase booth space at a convention receives increasing scrutiny, and we should all make certain our exhibitors receive both tangible and intangible returns on their investment in us.

Members are also reminded to attend the College Division Business Meeting Thursday, February 9, at 3:30â&#x20AC;&#x201C;4:30 P.M. in CC 204. In addition to relevant matters relating to our division, our profes-

sion and our association are facing some critical challenges in the coming year. It is important that our members be able to cast informed ballots for leadership of the Executive Board. Members of the College Division should lead by example in determining the course for the association by fully participating in the election of those who will guide TMEA through the next biennium. I genuinely look forward to learning with you during this yearâ&#x20AC;&#x2122;s clinic/ convention.

Important Dates February 8â&#x20AC;&#x201C;11â&#x20AC;&#x201D;TMEA Clinic/ Convention in San Antonio.

April/Mayâ&#x20AC;&#x201D;Attend your spring Region meeting.

Aprilâ&#x20AC;&#x201C;June 1â&#x20AC;&#x201D;Submit clinic proposals for the 2013 TMEA convention.

SCHOOL OF MUSIC Bachelor of Music in Music Education and Performance Bachelor of Arts in Music

www.tlu.edu/music

S C HOOL OF MUSIC FAC ULT Y Douglas R. Boyer Beth Bronk " ,)(5 )()&3 Eric Daub Eliza Thomason

Director, School of Music #, .),5) 5 "), &5 .#0#.# Director of Bands Director of Vocal Studies Director of Piano Studies Director of Strings

Adam Bedell, Percussion

((# ,5 ,( , 65 ) ,)&5 " ' ,-65 ,/'* .5;5 /-# 5 / .#)(

) 5 ))* ,65 ,/'* .

(( 5 ( )65 &/.

( .5 ,)")0 65 /#. , ,/( -5 (% /-% -65 & ,#( .

/,# 5 (- "% 65 )# 5;5 ( , &5 /-# /-.#(5 --)*65 2)*")( 5;5 445 (

nif8imh8lnlo5),5nff8mmg8nkhg dboyer@tlu.edu bbronk@tlu.edu sconoly@tlu.edu edaub@tlu.edu ethomason@tlu.edu

&#4 ."5 65 &&) ), "5 3 -65 "), &5 )'* (#-. ,& 5 &" ( 365 )'* (#-.5;5 # () 3& 5 ),,#-65 (#0 ,-#.35 ,! (#-.5;5 ,! ( #."5 ) #(-)(65 /-# 5 / .#)(5;5 /

#&&5 ) ,#!/ 465 ),(5;5 ( , &5 /-# Mark Rogers, Bassoon , ( 5 (-#!65 ,)' )( 65 /*")(#/'5;5 / ) ,.5 ,, (65 # ()5;5 /-# 5 #-.),3

S CH O L A R S H IP S For specific qualifications for each award, visit www.tlu.edu/music.

Da capo Award in Music Up to full tuition per year Audition and interview will take place on campus during the Pacesetter event on Feb. 27, 2012.

Jones Fine Performance Arts Award for Awards for Music Majors Non-Majors Up to $4,000 per year Up to $2,000 per year Auditions will take place Feb. 26, 2012 2-4 p.m.; March 24, 2012 10 a.m.-noon; April 21, 2012 10 a.m.-noon.

5 5 5 R 5 g f f f 5 5 5 5 R 5 65 5 m n g k k

76 Southwestern Musician | February 2012

Scholarship Audition Dates

Call 877-520-2263

your audition

A heritage of musical excellence within a caring, Christian environment

DEGREE PROGRAMS

PERFORMANCE OPPORTUNITIES IN

FOR MORE INFORMATION

Bachelor of Arts in Music Bachelor of Music in Performance (voice and piano)

Choral, band, orchestra, jazz, percussion ensemble and opera

Phone: 325-674-2199 Email: music@acu.edu Web: acu.edu/music

110483-0811

(toll free) to schedule

Thank You, Scholarship Donors November 1 – November 30, 2011 Abel Acuna Robert Aguinaga, Jr. Kimberley Ahrens Joseph Alcocer Edward Aleman Carlos David Alfaro Chad Allen Tim Andersen Cindy Anderson Charlotte Kirsten Andersson Annah Clarisse Aquino-Chavarria Rogelio Avalos Jason Samuel Avrett Gary Ronald Barkey Dr. Cheryl Bates Bradley J. Behrens Robert Carl Bellatti Richard Birk Randall Bischak Kristina N. Bishop Myles Julian Blakemore Jayne Bledsoe Roger Boening Mariann N Bokako-Henry Jennifer Bollinger Julie S Boltz Nick Boltz Brad Bouley Timothy Bourn Patrick Aloysius Bowen Ryan Brittain Michael A. Brodowski Cliff Brown Dr. Susan Dill Bruenger Jean Carroll Bryant Rebekah Ann Bulen David N Burris, Jr. David G. Carbone Don Carnes Robert Castillo, Jr. Melanie O’Neal Cavenaugh Robert Chadwick Destin Chase Chapman Joel Chavarria Walter Edwin Chavez Katherine A. Chiles Heather Clark Jonathan Cochran Julie Collins Kelly Collins-Martinez Jennifer Marie Condon Osley Cook, Jr. Jim Cooper Ernesto Cortez Scott Coulson

Mike Scott Craft Estela Maria Da Costa Kathy L. Daniel Robert N. Daniel Cynthia G. Davenport Cindy Dickson David Beverly Davis Kyle Davis Erin DeLavan Jackie Digby Mark Daniel Dorsey James L. Drew Catherine A. Dudley Troy H. Eads Eugenie Edmonds Wesley A. Evans Tiffany Fischer Rebecca Fix Vidal Flores Conrad Douglas Flusche Victor Gonzalo Franco Mayra A. Garcia Oscar R. Garcia, Jr. Greg William Garrison, Sr. Jordan Garza III Roberto R. Garza Melony Lei Gauthier Cara Goings Jeremy James Gordon Robert Gray Kay J. Greenhaw Dr. Jonathan Guist Rodney Haedge Jerry Don Hale Toni Sue Hale Laura Harston Jeremiah Matthew Hastings Vanessa Raquel Hernandez Karen Herrera Wanetta Hill Alyson Holley Leslie Holman Blythe Hopson Lanny B. Huddleston Stacy Lewis Hudson Vicki L. Hughes Anson William Jablinski Phyllis Kurtin Janke Dan Jeter David Jobes Holly Johnson Jane Maureen Johnson Carol Faye Jones Colin M. Kading Joseph Kevin Kaminski Kara R. Kasberg

78 Southwestern Musician | February 2012

Tricia Ann Kelley Benjamin J. Keltner Mary Kate Kenney James Kidwell Theresa Killingsworth Rebecca Kimmons Dorina Kingston Anna Jo Knight Ellen Jane Kolman David Brian Kraft John Paul Landin Devon Langford Roman A. Lechuga Carol LeGrand Janice Lemm Monica Leone Kristina Levias Megan Manuel Dr. Hunter C. March Mark Wayne Martin II Albert Gil Martinez, Jr. Dawn Marie Martinez Michael Martinez Melissa G. Massie Derek Vance Mathews Kimberly Maxwell Bryan May Charlie Mayes Bobby D. McCoy David McCutchan Karlyn McCutchan Scott McDonald Susan Pauliene McGinnis Kevin McNerney Grant McWilliams Patricia F. Meadows Joe A. Mehling Samuel David Mendez Karin Milburn John Brandon Miller Kristen Miller Zachary William Miller Adron Ming Gary Albert Mink Ellen Christina Moreno Jeff Munger Sheila Munn Joshua Munoz Mary Kathryn Murray Dean Muths Steven Myers Cynthia Nealis David Q. Ngo Karen Jill Norman Paul Norris Raymond Novak

Josh Nowlin Cormac O’Reilly Fred E. Otto Jeff George Owen James-Douglas Buck Palmer Arturo Ray Palomo, Jr. George Alan Parks Joyce Ann Parks Dr. Jerry R. Payne, Sr. Sho-mei Pelletier Jesus Pena Margaret Teresa Peralez Deborah Perkins, Ph.D. Greg L. Perkins J. B. Perry Colleen Petty Cindy Ervin Pharis Brian Patrick Pollard Cara Pollard, D.M.A. Miguel Porras Jan Reichle Posey James C. Powell Patricia S. Purcell Robert Lazaro Quintanilla Chris Ramos Rae L. Ramsey Sharon Sue Ratliff Jasmine Reed Mark James Richard Rev. James DeWayne Richardson James D. Richardson Wanda Lee Richardson William Richardson Emily Rimmer Monica Roach Stephen H. Roddy Val Rose Pat C. Ruiz IV Ediel Saenz, Jr. Jennifer Claire Saenz Paul Saenz Raymond Anthony Sanchez Ray Earl Sanders Michael Santorelli Aric Schneller Elizabeth Schorr Leticia Schram Abby Seible David Michael Sells Shelby Nicole Sharp Jaclyn Sandra Shepherd Tamara Harper Shetron Dr. Jennifer Sholtis Samantha Michelle Shubert Ashley Siegrist

Rachael White Sitka Brittany Sloss Candace Smith David W. Smith Jeffrey Allen Smith Linda D. Smith Melinda D. Smith Sandra Marie Smith Katherine A. Stark Nicholas Stephenson Patrick Allen Stevenson Jill Stewart Diana Carol Stoerzbach Charles Zachary Stollon Sue Ann Studdard Sean Stultz Brian Patrick Taylor Laura Taylor Dave Terrall Denise E Thomas Mindy J. Thomas Mary Tidwell Kimberly Tobola Thomas E. Tomczuk Adrian Tovar Rogelio Trevino III John W. Turner Selena Feliz Urby Adam Michael Van Court John B. Vance Sonja Vandivier Zachary Venable James Vermillion Jaime Rolando Villarreal Rev. Christopher Andrew Vlasek Larry Don Wade, Jr. Nancy Griggs Warncke Reginald Washington Steven Michael Washington II Janita J. Watson Melanie E. Weeden Glynn Wells Dr. Dan White Donna E. White Nathan Andrew White Tanner J. Wilemon Ariel Williams Christopher Williams Daniel Witte Clarence Wittwer Suzanne T. Wood Bethany C. Woodard David Paul Young Lyn J. Zeller

Print music perfect for students of flute, guitar, and more!

Overtones

速

A Comprehensive Flute Series

Frederick Harris Music TMEA Showcase Presentation

by Dianne Aitken Friday, February 10, 2012 2:00pm- 3:00pm Room CC 003

www.frederickharrismusic.com Frederick Harris Music is a proud member of GAMA. Visit our Booth to learn more about

Bridges

速

A Comprehensive Guitar Series

For the chance to win an exciting door prize stop by the Frederick Harris Music Booth at TMEA 2012!

Inspire the desire to aspire.

Overtones速 and Bridges速 are the official flute and guitar assessment resources for the Carnegie Hall Royal Conservatory Achievement Program.

For more information, visit TheAchievementProgram.org