February 2013 | Southwestern Musician

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40 FEATURES

FEBRUARY 2013 VOLUME 81 — ISSUE 7

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Honoring a Texas Champion of Music Education

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Music Unlocks the Potential of Special Learners Learn more about the special education system and how music educators can better serve all students.

BY RUSSELL GAVIN

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On the cover: Past-President Ross Boothman, President John Gillian, and President-Elect Joe Weir.

COLUMNS

TMEA salutes UIL State Music Director Richard Floyd, who is retiring after his 50th year of active involvement in music education.

Essential Building Blocks Legendary conductor Robert Shaw’s respect for choral art was manifested through his rehearsal techniques. Preparation of a work was a process of gradual transference of accountability from the podium to the singers. Learn more about his methods and how to apply them to your rehearsals.

BY PAMELA ELROD HUFFMAN

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Musical Transitions Keep Elementary Students Learning With meaningful transitions between each learning activity, students will continue learning and remain engaged throughout the class period, thus reducing the number of behavior issues.

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

by John Gillian

BY KRISTINA CAFFEY AND LOREN TARNOW

Executive Director’s Notes..................12

by Robert Floyd Band Notes .............................................................19

by Ronnie Rios Orchestra Notes ...............................................32

by Lisa McCutchan Vocal Notes ............................................................49

by Janwin Overstreet-Goode

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Choosing the Right Technology By asking yourself the right questions, you can decide how to utilize the appropriate technology solutions to help you better educate and inspire your students.

BY JOSEPH M. PISANO

UPDATES Creating Your Convention CPE Record .........................................................2 Free Convention Parking and Shuttle Service .............................................2

Elementary Notes ...........................................61

by Michele Hobizal College Notes ...................................................... 74

by Keith Dye

2013 TMEA Clinic/Convention: Arrival Details ............................................5 TMEA Convention General Sessions and Audio Files .............................. 10 President’s Concert Features the Dallas Wind Symphony ...................... 30 Thank You, Scholarship Donors ................................................................. 78 Southwestern Musician | February 2013

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Editor-in-Chief: Robert Floyd

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

Managing Editor: Karen Kneten Cross

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

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

President-Elect: Joe Weir joseph.weir@humble.k12.tx.us 19627 Firesign Drive, Humble, 77346 281-641-7606/Fax: 281-641-7517 – Atascocita HS

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

Band Vice-President: Ronnie Rios ronnierios@yahoo.com 22343 Paloma Blanca Court, Harlingen, 78550 956-427-3600 x 1080/Fax: 956-440-8343 – Harlingen HS

Orchestra Vice-President: Lisa McCutchan lisamccutchan1@gmail.com 17426 Emerald Canyon Drive, San Antonio, 78232 210-397-4759/Fax: 210-695-4804 – O’Connor HS

Vocal Vice-President: Janwin Overstreet-Goode MRYHUVWUHHW JRRGH#ÀVGN QHW 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 – Wolman Elementary

College Vice-President: Keith Dye keith.dye@ttu.edu 6607 Norwood Avenue, Lubbock, 79413 806-742-2270 x 231/Fax: 806-742-4193 – Texas Tech University

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

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

Creating Your Convention CPE Record TMEA members have numerous opportunities to receive Continuing Professional Education (CPE) hours. TMEA provides an online method for creating your CPE record after the convention. Follow these steps now to prepare to complete your CPE record upon returning home from the convention.

1. Now: Create a personal schedule online. • Go to www.tmea.org/convention • Click on the Personal Schedule link • Enter your TMEA member ID and password • Create a schedule of sessions you wish to attend

2. At the convention: Make note of workshops you attend to completion.

3. When you return home: Update your online personal schedule to confirm the workshops you attended, print your CPE form, and submit it to your school district.

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 The City of San Antonio is offering attendees free parking at the Alamodome Lot B. TMEA is providing free shuttle service from this lot to the convention center.

Thursday: 7:30 A.M.–10:30 P.M. Friday: 7:30 A.M.–9:30 P.M. Saturday: 7:30 A.M.–10:30 P.M. DETAILS AT: WWW.TMEA.ORG/CONVENTION

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

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

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UNT College of Music Summer Workshops 2013 9th Annual Pirastro Strings Elite Soloists Program Jeff Bradetich May 28-June 1

13th Annual Beginner and Intermediate Double Bass Camp Jeff Bradetich June 12-14

Flute! High School Masterclass Mary Karen Clardy June 5-9

Marimba Workshop Mark Ford June 17-21

ClarEssentials High School Clarinet Workshop Kimberly Cole Luevano, Daryl Coad, Deborah Fabian, John Scott June 13-15 Marching Percussion Camp Mark Ford June 10-13 26th Annual Bradetich Double Bass Masterclass Jeff Bradetich June 10-14 Flute! Fundamentals for Teachers Mary Karen Clardy June 10-14 Lynn Seaton Jazz Double Bass Workshop Lynn Seaton June 10-14 Conductors Collegium Eugene Migliaro Corporon, Dennis Fisher, H. Robert Reynolds June 10-21

String Orchestra Day Camp (Grades 5-12) Karrell Johnson June 16-21 Drum Major and Student Leadership Camp Nick Williams June 20-23 Vocal Pedagogy Workshop Stephen Austin June 20-22 Flute! Repertoire and Performance Masterclass Mary Karen Clardy June 21-23 Vocal Jazz Workshop Jennifer Barnes, Rosana Eckert, Gary Eckert, Greg Jasperce, Michael Palma June 23-28

Jazz Winds Workshop (Sx, Trpt and Trb) Brad Leali, Mike Steinel, Jay Saunders, Rodney Booth, Tony Baker & Steve Wiest July 8-13 Texas High School All-State Choir Camp Alan McClung July 10-13 Jazz Combo Workshop Mike Steinel, Brad Leali, Rodney Booth, Stefan Karlsson, Lynn Seaton, Fred Hamilton, Steve Wiest, Ed Soph and more.

July 14-19 Middle School/Jr. High Honor Choir Camp Alan McClung July 17-20 Piano & Organ Wellness Sheila Paige July 25-Aug. 2 Mariachi Summer Camp Donna Emmanuel July 24-27

Alexander Technique Phyllis Richmond July 12-13

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

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

A vision of our future

PRESIDENT’S NOTES IMPORTANT DATES February 13–16—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 for the 2014 TMEA convention.

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ebruary 2013 is here, and it is almost time for the TMEA Clinic/Convention! From the Dallas Wind Symphony’s performance to keynote speakers Karl Paulnack and David Pogue, outstanding clinicians in all divisions, dozens of concerts, and the most amazing exhibit halls and vendors in music education, this year’s convention will be another outstanding event you cannot afford to miss. I look forward to seeing thousands of TMEA members very soon in San Antonio!

As TMEA’s 93rd year begins, my term as President is coming to an end. I cannot help but ponder TMEA’s future in my final column for SOUTHWESTERN MUSICIAN. During this past year, I have researched and learned much about the very early leadership of TMEA. As predicted 74 years ago by TMEA President Ward G. Brandstetter, TMEA is “a brilliant success.”

I believe the current and past regional and state leaders have all shared a common vision—to build upon our successes and willingly make changes in policies and procedures that will improve music education for Texas students and teachers. During each of the past four years I have served on the TMEA Executive Board, significant changes to our competitive organizations and our convention have occurred. These changes have never happened without considerable study, discussion, and deliberation. I am confident that future leaders will continue to monitor and modify our programs in order to better meet TMEA’s lofty goals.

Undoubtedly, TMEA leaders will find ways to better serve student

Your hard work and exceedingly high standards make Texas students and the schools in which you teach the model for music education in our nation.

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Southwestern Musician | February 2013

2013 TMEA Clinic/Convention February 13–16

San Antonio

NATIONAL TI:ME MUSIC TECHNOLOGY CONFERENCE I T ’ S O N LY D A Y S A W A Y !

ON-SITE REGISTRATION

Preregistration has ended; however, you can still register on-site in San Antonio.

Active music educators: $70 / Retired music educators: $15 College student members: (included in $20 membership) TI:ME preconference: $50 (in the foyer of CC 201–204) If you need a registration form to request a check from your school, go to www.tmea.org/convention then 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 in creating 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 Thursday– 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 don’t leave any valuables in your vehicle.

DALLAS WIND SYMPHONY TICKETS

Will-call ticket pickup and purchase of any available tickets to the President’s Concert featuring the Dallas Wind Symphony will be at the Information Booth in the registration area Wednesday 1 p.m.–9 p.m. and Thursday 7:30 a.m.–6 p.m. (following that, will call is in the theater lobby).

The concert is Thursday, February 14, at 8 p.m. in Lila Cockrell Theater. Doors open at 7:15 p.m. Tickets are general seating only.

Registration Hours TI:ME Preconference Wednesday ..... 8:00 A.M.–3 P.M. Wednesday ..... 1:00 P.M.–9 P.M. Thursday ....... 7:30 A.M.–6 P.M. Friday ............ 7:30 A.M.–5 P.M. Saturday ........ 7:30 A.M.–2 P.M. CONVENTION BADGE PICKUP

Preregistrants: Go to the preregistration booth based on your last name. TI:ME preconference badges are separate from your TMEA badge and can be picked up in the foyer of CC 201–204.

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. (TI:ME preconference on-site registration is separate and outside CC 201–204.)

Payment types: Visa, MasterCard, AMEX, personal or school check, cash, and approved school P.O. College Students: If your membership is active, go to the preregistration booths. Otherwise, go through on-site registration to renew and get your badge.

Family Members: Badges for family members of registered attendees are $10 each (as long as they are not also music educators, music ministers, musicians, or college music students). Children under 12 are free (must be present). 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.

www.tmea.org/convention Southwestern Musician | February 2013

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Texas Tech University

CAMP

BAND AND

ORCHESTRA

SCHOOL OF MUSIC JULY 9-15 2013 Information and Applications @ www.TTUBOC.com

populations based on school classifications, geographic locations, and types of performing groups. With a $325 million expansion and renovation approved for the San Antonio Convention Center, certainly big changes to our convention are in store during and after this construction.

As convention facilities change in San Antonio, adding new performance and clinic opportunities to the convention will likely become a reality. During the anticipated four years of construction, obstacles will certainly require some changes and flexibility in our future conventions.

The year 2020 will be a momentous one for TMEA—a centennial celebration! I anticipate exciting events to commemorate this occasion, with special reunions of past performers and leaders, celebrity performers with TMEA connections, inspiring speakers, images from our past gatherings, and plans for continued success. If you have great ideas that should be considered for this event, please share them with TMEA leadership.

Our amazing TMEA staff members are a huge reason for TMEA’s successes.

As TMEA has aged through the years, several exceptional staff members have worked hard for TMEA. The professional staff grew through the years from only volunteers, to a single, part-time paid position, to a staff of nine. During my four years on the Executive Board, only one staff change has occurred. When it has been necessary to fill a staff position, those positions have been filled with quality personnel who truly care about our organization. While the thought of replacing staff members who have dedicated much of their professional lives to TMEA is daunting, our history has proven that TMEA has continued to thrive and grow through these past changes and will carry on through countless generations.

Undoubtedly the most rewarding professional experience in my lifetime is the time I have volunteered on the TMEA Executive Board. I recall sitting in Ballroom A during one of my first conventions, and as I looked upon the current leadership sitting on the stage, I thought to myself, “I want to be up there someday.” I attended Region meetings

and events, and I volunteered to help at all levels of TMEA. I lost my first run for Elementary Vice-President, but I ran again and won two years later, beginning what will be five years of meaningful and joyful service on the TMEA Executive Board. I expect the others with whom I have served on the Executive Board will be lifelong friends. Unquestionably, the decisions we have made together will have a lasting influence on music education in Texas and throughout the nation. I do not expect to experience anything more rewarding in my professional life.

I have often heard members express a desire to run for TMEA Region or State office. I encourage you to pursue opportunities to serve TMEA. Speak to your Region leadership about ways to serve.

Contact Executive Board members to find avenues of service at future conventions and other events. The truth is there is no wrong kind of person to fill TMEA’s leadership positions. Any active TMEA member who resides in and is employed full-time in an administrative or teaching capacity in the field of music in the state

Southwestern Musician | February 2013

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2013 SUMMER

MUSIC CAMP

SERIES Texas Summer Flute Symposium Sunday, June 9th – Friday, June 14th Julie Kim Walker, Texas A&M University-Commerce Terri Sundberg, University of North Texas Conor Nelson, Bowling Green State University

Leadership, Drum Major & Colorguard Camp Sunday, June 16th – Thursday, June 20th Featuring Frank Troyka, Director of Bands, Berkner High School and Gary Williams, Director of Bands, Cockrill Middle School

All State Choir Camp Sunday, June 23rd – Wednesday, June 26th Dr. Randall Hooper, Texas A&M University-Commerce Ryan Forkner, North Mesquite High School Bethany Green, Lovejoy High School Josh McGuire, Sachse High School Jeff Goolsby, Klein High School

Blast of Brass Sunday, July 7th – Saturday, July 13th Featuring The Maniacal 4 Trombone Quartet

A Member of The Texas A&M University System

Log on to www.tamuc.edu/music for more information

of Texas is eligible to run for a TMEA office.

The most important element tied to the future success of TMEA is finding and electing dedicated individuals to serve in all positions of TMEA leadership. Are you ready? I wonder who will be the first woman elected TMEA Band Division Vice-President? I hope to meet her sometime soon and expect she will be part of a new chapter in TMEA’s colorful history.

As my Presidential year comes to a close, I must take this opportunity to publicly thank a few very important people.

For their encouragement and support, my thanks go to administrators and coworkers in Ector County ISD, including three different fine arts administrators: Randy Talley, Shawn Bell, and Daniel Loudenback. Thanks also go to TMEA Past-Presidents J.R. McEntyre and Charles Nail, who have provided wise and experienced counsel. TMEA Region VI members have offered graciously to assist and support in numerous ways, and I am thankful and amazed by their generosity.

My wife Leslie and son Jerry have been proud supporters of my extra work on the TMEA Executive Board. Jerry does not remember a time when I was not on the Executive Board. At nine years old, his skills on violin, piano, and voice inspire me to always work hard for all Texas students.

Finally, thanks go to the TMEA membership. TMEA is made up of amazing educators who work much harder than most people will ever know. Your hard work and exceedingly high standards make Texas students and the schools in which you teach the model for music edu-

cation in our nation. I applaud your continuing efforts and your love and devotion to your students.

I encourage you to follow an example in your teaching that I witnessed on December 7, 2012. As I drove by PastPresident J.R. McEntyre’s home around the block from my house, I saw a mass of band students in his yard with instruments and a flood light held high over the crowd. When I stopped, I discovered that the Odessa Permian and the Midland Lee bands had assembled to perform an impromptu caroling concert for Mr. and

Mrs. McEntyre. Permian Director Jeff Whitaker and Lee Director Randy Storie, along with their assistant directors, taught those students that 50 years of school rivalry meant nothing as they performed together sharing their love of music with a family who helped build the great band traditions in their schools.

It has been an enchanting time sharing my thoughts with you this year. Thank you for helping make our world a better and more peaceful place through music education. I wish you Godspeed in your journeys.

the "World Famous"

COWBOY BAND

Hardin-Simmons University

Celebrating 90 Years OF MEN AND WOMEN ENTERTAINING MILLIONS!

BANDS AT HSU: Concert Band, The “World Famous” Cowboy Band, Jazz Ensemble SCHOLARSHIP AND ENTRANCE AUDITIONS: February 2 and 23, March 2 http://www.hsutx.edu/academics/cofa/music

2013 TMEA President’s Concert Dallas Wind Symphony with Håkan Rosengren THURSDAY, FEB. 14, 8 P.M. LILA COCKRELL THEATER

Tickets: Registration Area Information Booth

Dr. Wayne F. Dorothy, Director of Bands | wdorothy@hsutx.edu | (325) 670-1419 Southwestern Musician | February 2013

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Attend the TMEA General Sessions First General Session

Second General Session

• • •

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Thursday, February 14, 9 A.M. • Lila Cockrell Theater President-Elect nominations close Keynote address by Karl Paulnack Salute to UIL State Music Director Richard Floyd

Committed to a diverse, comprehensive practice of collaborative musicianship as an artist/teacher for more than two decades, Karl Paulnack has served as Director of the Boston Conservatory’s Music Division since 2002. As an advocate for music and the arts, Paulnack is increasingly in demand as a keynote speaker and lecturer. His thoughts on music have been translated into six languages and have appeared on well over 100,000 websites, in print publications such as the Christian Science Monitor, and in the program books of dozens of symphony orchestras and concert series around the world.

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Friday, February 15, 9 A.M. • Lila Cockrell Theater

•

President-Elect election Performance by the All-State Symphony, 5A Symphonic Band, and Mixed Choir Keynote address by David Pogue

In addition to being a New York Times technology columnist, David Pogue writes and hosts segments for CBS News Sunday Morning. He may be best known for his work on NOVA, the long-running PBS science show. He recently began serving as host for the spinoff series NOVA ScienceNow. While his work is currently in print media and television, Pogue began his career in music as a conductor, synthesizer programmer, arranger, and assistant on Broadway shows and with a few off-Broadway productions.

EXECUTIVE DIRECTOR’S NOTES IMPORTANT DATES February 13–16—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 for the 2014 TMEA convention.

83rd legislative session begins B Y

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n January 8, the 181 members of the Texas Legislature returned to Austin to begin the 83rd legislative session. New members abound, especially in the House, and in education circles there will be new chairs of both the Senate Education and House Public Education committees. Senator Dan Patrick (R-Houston), an artist, pianist, and guitarist, has already been named chair of the Senate Education Committee, while at press time an education chair on the House side had yet to be appointed. The respective members of the committees also had not been named at our printing deadline.

In the education arena, the big issues will be school funding, new graduation plans based on pathways and endorsements, a reduction of the end-of-course assessments (EOCs) required for graduation as prescribed in HB 3 (2009), and the consideration of some variation of a voucher program expanding student and parent choice in schools. Chairman Patrick has already officially declared these issues as personal priorities, and these education programs are being laid out in senate bills that will begin the hearing process sometime during February. His proposal for a new 26-credit graduation plan, entitled the Texas Foundation Diploma, requires all students to take a foundation set of courses that includes math, science, English language arts, social studies, wellness/physical education, languages other than English, and fine arts. The new plan will then allow students to choose pathways or endorsements in STEM, Humanities, Business/ Industry, and Human Services, to complete the 26-credit requirement.

The ultimate goal of such a plan is to give students as much flexibility as

Together we will protect opportunities for students in Texas schools to receive a well-balanced education that includes the arts.

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““I am so excited i d to use Q Quaver’s ’ llessons as the centerpiece of my curriculum next year.”

Donna Berg – Darien Elementary, Delavan, WI

“Quaver Music has made a huge impact on my music classes.”

BJ Bany – Continental Elementary, Continental, OH

“I can’t tell you how much we love it! The kids are so excited about it.

I’ve been teaching for 29 years and can’t wait to get to school each day to do Quaver. Thanks so much for this most excellent program!”

Sherri Stoddard Thompson Jefferson Elementary, Shawnee, OK

“My students talk about Quaver all the time! Now I have kids quoting music history facts to me – with genuine enthusiasm! They are learning so much faster and retaining concepts longer because of Quaver.”

Penelope Campbell – Willbern Elementary Houston, TX

“I love the Quaver Quizzes that

can be used after each episode.

They are great to use as a formative or summative assessment. It has been such a refreshing way to introduce, enhance, and assess core content! My students love Quaver’s Marvelous World of Music!”

Lisa Hussung – Rich Pond Elementary Bowling Green, KY

Check it out at

possible to pursue their individual interests and expand options for students who choose not to go to college to be prepared for the workforce. This plan or a hybrid of such a plan is supported by Raise Your Hand Texas (RYHT), PTA, superintendent and school board associations, and other pro–public school organizations.

Business groups have also endorsed such a program (as well as a reduction in the number of EOCs required for graduation). TMEA as long as a year ago was involved in discussions contemplating such a plan, and certainly our goal was to both protect the fine arts graduation requirement and include an endorsement path for serious fine arts students.

This, of course, is only the beginning of a long and arduous process to develop a new graduation program, but at this point, the fine arts requirement is still in place, and a fine arts pathway through Humanities is an option. We all know the devil will be in the details of any changes in graduation plans, but meetings at the capitol thus far continue to be encouraging and supportive of our discipline.

A decrease in EOCs required for grad-

uation should limit the necessity for pullout from our classes at the high school level. A decision has not been made to again file a bill to limit STAAR pullout, but we have received positive encouragement from key players at the capitol to do so. Since the bill flew through the Senate Education Committee unanimously in both 2009 and 2011 and was voted out of the Senate 31–0 each session, such a history reflects a strong level of Senate support. We would then once again fight the fight on the House side for the bill to be voted into law.

We have also had preliminary discussion with staffs of legislative leaders about tearing down the wall between the foundation and enrichment curriculum in current law. The fact that graduation pathways or endorsements are being proposed for enrichment subjects such as fine arts, CTE, and foreign language raises the question of why we should continue to bifurcate the required curriculum into subjects that are of more or lesser importance.

Among Senator Patrick’s other education reform goals are expanding the num-

Clark W Fobes Clarinet and Saxophone mouthpieces Responsive, Reed friendly, Reasonably priced!

TMEA educators go to my website for a

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We will also have our new PILGERSTORFER clarinet reeds for sale at a 10% discount!

www.clarkwfobes.com 14 Southwestern Musician | February 2013

ber of charter schools, creating more flexibility to enable certain rigorous applied career/tech courses to satisfy graduation requirements, and increasing the use of educational technology. It should be duly noted that none of Senator Patrick’s definitive recommendations have been released in drafted legislation at our press time and, further, that the House may proceed toward education reform with a more cautious approach than expressed by the Senate.

As the session begins to gain momentum, I remind you once again that the most powerful tool we have in supporting our agenda is a phone call to a member’s office from a constituent. GoArts.org will continue to be our method of communication to alert you to any legislative action that requires a response. As a TMEA member, you are automatically a part of the GoArts database. We encourage you to enlist booster club members and other parents of your students to sign up as well. Together we will protect opportunities for all students in Texas schools to receive a well-balanced education that includes the arts.

Do you have students interested in music business?

Since 1990, the Texas Music Office in the Governor’s Office has provided Texans of all ages with accurate, unbiased information about our state’s music industry.

The TMO’s website, EnjoyTexasMusic.com, lists more than 18,000 Texas music business contacts, as well as many helpful teaching aids and a complete descirption of the 145 Texas colleges offering music and music business degrees.

The TMO: Your resource for teaching the business behind the notes.

Texas Music Office, Office of the Governor P.O. Box 13246, Austin, TX 78711 (512) 463-6666 music@governor.state.tx.us EnjoyTexasMusic.com

Honoring a Texas Champion of Music Education ust over 50 years since leading his first band rehearsal, UIL State Director of Music Richard Floyd is retiring from this position in which he has served 28 years. In this role, Floyd has overseen all facets of secondary school music competition for some 3,500 performing organizations throughout the state. In addition to his service as UIL State Music Director, Floyd has enjoyed a distinguished and highly successful career at virtually every level of wind band performance from beginning band programs through high school and university wind ensembles as well as adult community bands.

When we asked Richard about what the future holds after stepping down from UIL, he explained:

J

A very wise man once told me, “Never give up doing what you love.” Perhaps that’s why retirement is a foreign concept to me. I can’t imagine not being totally engaged in the wonderful profession we all share. Stepping down from being the UIL State Director of Music and the unending administrative responsibilities that accompany that position will hopefully open the door for many wonderful opportunities. This move (kind of like giving up the marching band) will free me to indulge myself in the world of conducting, clinicing, teaching, and mentoring that I so deeply love. I should also have some time set aside along the way to write a couple of books.

The TMEA Executive Board (on which Floyd has served as an ex-officio member) will recognize his service during the First General Session at the TMEA Clinic/Convention, February 14, at 9 A.M. in Lila Cockrell Theater. Join Board members at this meeting to offer your appreciation for all that Richard Floyd has accomplished to benefit Texas music students.

R ICHA RIC HAR HA R D FLOY LOYD

Major Milestones At a Glance • Hosted approximately 290,000 students at TSSEC. • Hired 350 state marching band judges to adjudicate over 2,400 state marching band contest performances.

• Monitored and refined UIL music contest programs that now provide over 750,000 student experiences.

• Established the TMEA/UIL Music Advisory Committee.

• Established the Texas Music Adjudicators Association as the official source for certified UIL judges.

• Spearheaded the development of judging rubrics for all UIL music competitions.

• Redefined criteria for the selection of music for the PML.

• Pioneered online entry systems for UIL music competitions.

• Developed a commissioning program for the procurement of UIL band sightreading music—music now used in 17 states.

• Oversaw the conversion of the Prescribed Music List from the traditional print version to an online searchable database.

• Established pilot programs that ultimately refined contest processes in sightreading and marching band.

• Developed online submission system for the PML.

• Served as co-coordinator for the design and construction of the UIL state offices completed in the early 2000s.

Richard Floyd has in his tenure continued the tradition of strong leadership from the office of UIL Music Activities. His actions always represented what he thought was best for the students and music education in Texas. —HENRY SCHR AUB, TMEA PAST-PRESIDENT (1979–1980) Richard Floyd willingly put aside his baton and left the podium he loved, exchanging the role of conductor/teacher to become the director of an organization that impacts thousands of young musicians each year. His background as a superb musician, teacher, and conductor has served him well as he has made wise and far-reaching decisions in his role at UIL. —SALLY SCHOTT, TMEA PAST-PRESIDENT (1984–1985) Under Richard Floyd’s visionary leadership, the Music Division of the Texas UIL sets a national standard for student-centered music competition. His personal musicianship, sensitivity to innovation, and keen interest in the welfare of students and educators have all contributed to the organization’s success. We owe Dick a tremendous debt of gratitude for his guidance and dedication to music education in Texas. —JIM VAN ZANDT, TMEA PAST-PRESIDENT (1985–1986) Orchestra Directors are certainly aware of all the things Richard Floyd did during his tenure at UIL to foster and promote orchestra programs throughout the state. We wish him the best of everything! —K ATHY FISHBURN, TMEA PAST-PRESIDENT (1990–1991) 16 Southwestern Musician | February 2013

Competitive Scholarships & Performance Awards

Audition Dates November 17, 2012 January 26 – 27, 2013 February 23 – 24, 2013 (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

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Music Literature

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

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

Music Education

Theory & Composition

Lois Ferrari Kenny Sheppard

Jason Hoogerhyde Eileen Meyer Russell Kiyoshi Tamagawa

Strings

Voice & Opera Theatre Bruce Cain Kathryn Findlen Kenny Sheppard Nicholas Simpson Dana Zenobi

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

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Š2012 12_05_0124_23

V i s i t u s at o n e o f o u r n e i g h bo r h o o d lo cat i o n s :

Embrace the icons B Y

R O N N I E

R I O S

I

f you wanted to learn how to swing a golf club like a pro, wouldn’t it be great if you could consult with Phil Mickelson or Tiger Woods? For the best financial advice, you might wish you could collaborate with Bill Gates. So, if what you’re looking for is building a better band, seek advice from those who have mastered the art throughout their careers. To take our programs to the next level, we need to connect with seasoned directors who have been there, done that—our true band icons. Our upcoming TMEA convention presents a golden opportunity to learn from some of our greatest music educators. Be sure to take time to learn from the wisdom of their experience.

Not only can these icons accelerate our learning curve, they can also advise us about that one thing that is lacking or keeping our programs from being spectacular. While it might not be as convenient as finding them in the same location during our convention, you should also take advantage of any opportunity to get out and watch these proven leaders at work. Be sure to spend time with them personally so that you can ask questions and get advice on your specific situation. I’m convinced you will never forget the answers you receive.

I remember a time when Richard Floyd conducted a band in our Region. I spent much of that morning studying his approach to teaching articulation and how a conducting pattern can influence that. I also learned from his trio concept of balance. Not too long after this, he conducted a clinic with my band. His words were professional, helpful, and extremely meaningful. He was one of the first band icons I watched rehearse and from whom I learned.

This is Mr. Floyd’s final year as the full-time UIL State Music Director.

There is certainly no way I could write an article on band icons in our state without mentioning him. While there are certainly many others, Mr. Floyd,

BAND NOTES IMPORTANT DATES February 13–16—TMEA Clinic/Convention in San Antonio.

March 1—Texas Music Scholar application available online.

March 1—Honor Band entry deadline for Classes 2C, 3C, 2A, and 4A. April/May—Attend your spring Region meeting.

April–June 1—Submit clinic proposals for the 2014 TMEA convention.

Our upcoming TMEA convention presents a golden opportunity to learn from some of our greatest music educators. Be sure to take time to learn from the wisdom of their experience.

Southwestern Musician | February 2013 19

think. perform. explore.

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without a doubt, has done incredible work to shape band programs in Texas. Be sure to read the tribute to him on page 16.

With the TMEA Clinic/Convention a few days away, I hope that you are excited about your opportunity to learn from various icons (including a clinic offered by Mr. Floyd on developing listening skills to be better conductors).

personal schedule, and the on-site printed convention program, TMEA offers the convention mobile guide to allow you to use your smartphone or tablet to build a schedule, view floor plan maps, find exhibitors on the floor, and more.

Download the app from www.tmea.org/ convention. It should be available the first week of February.

Online Personal Schedule and Convention App 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 record. The personal schedule allows you to search for clinics, print your schedule, and save it to change it later. Know that starting February 1, handouts provided by clinicians will be available online to TMEA members who can access the convention personal schedule. For more details on arriving at the convention to complete the registration process, see page 5.

In addition to the December magazine’s convention preview, the online

Honor Band March 1 is the deadline to enter the Honor Band process for all 2C, 3C, 2A, and 4A bands. June 15 is the deadline for all honor band materials for those advancing to the Area listening center chairs.

More information on judges, dates, sites,

hosts and chairs will be posted online at www.tmea.org.

Texas Ensembles at the Midwest Clinic Congratulations go to all the Texas ensembles for their performances at the annual Midwest Clinic held in Chicago recently. Kudos to the fantastic middle schools, high schools, and universities involved.

Also, congratulations go to our Texas band directors who presented clinics and workshops at this prestigious event. I was extremely impressed and proud to be in attendance at many of these amazing performances and clinics.

Can’t Be in Two Clinics at the Same Time?

Audio Files Are the Solution!

W W W

.T M EA.ORG/AU DIOFI LE S

Southwestern Musician | February 2013 21

by Russell Gavin

O

ver 6 million students in the United States are currently provided special education services. This equates to roughly 10% of the entire student population. The system serving these students is laden with paperwork, acronyms, and instructions that can at times seem confusing. This system employs special education teachers, aides, specialists, psychometrists, and case managers. With all that is involved, understanding special education can be overwhelming.

The good news is that it is not that complex if you learn a few of the basics. The even better news is that possessing an understanding of this system can benefit every student you teach!

The main thing to know when considering how best to serve special learners is that your school employs multiple individuals there to help you. Special education professionals in your school environment will be encouraged to have you walk into their office and ask about a student. These educators have chosen to spend their careers bettering the lives of students with special needs, and having a music teacher drop in with the purpose of helping one of their students will almost certainly lead to a productive exchange of ideas. This level of personal communication with your local special education professionals will be your single greatest asset when teaching children with special needs.

One of the primary reasons it is important to communicate with your local special education professionals is the wide array of conditions students receiving special education may have. The Individuals with Disabilities Education Act (IDEA) lists 13 disability categories for which students are eligible to receive special education services: • specific learning disability, • speech or language impairment, • mental retardation, • emotional disturbance,

• multiple disabilities, • hearing impairment, • orthopedic impairment, • other health impairment, • visual impairment, • autism, • deaf-blindness, • traumatic brain injury, and • developmental delay.

Given this extensive list, it is fortunate that music educators do not have to conduct in-depth research into the disabilities affecting our students. In fact, we are not even legally entitled to know what their specific condition is. We simply need to understand how to educate them appropriately, and that is the purpose of the special education system.

What is important for music educators is to understand the system that is provided to support students with special needs.

With this understanding we can determine how to be a positive part of each student’s education. The ARD and the IEP are two components for every student served by special education.

The ARD Admission, Review, and Dismissal meetings exist as a forum to determine if a student is eligible for special education. These meetings must be held once a year, but may occur more frequently if necessary. The ARD committee must include: a special education teacher, a general education teacher, an administrator, and the student’s evaluator/case manager. The parent/guardian of the student must be informed of and invited to the meeting, but their presence is not required. Other teachers may attend the ARD meeting if they will be instructing the student in any capacity.

One outcome of the ARD process is the construction of an IEP. Southwestern Musician | February 2013 23

The IEP The Individualized Education Program is a document that states what special education services a child is going to receive.

These services include instructions to all teachers regarding the modifications a student will be receiving and may also include details about accommodations.

An accommodation is used when a student is able to learn and achieve on the same level as other students in the classroom but needs additional support to reach this goal. A modification is applied when a student is not able to achieve on the same level as the other students in the classroom, thus requiring an alternate task or assignment. For example, an accommodation would be to allow a student to record their playing of a B-flat major scale test rather than playing it in front of the class; a modification would be to require the student to play only the first five notes of the scale to receive full credit.

Our Responsibility As a music educator, you are not required to attend a student’s ARD meeting. Still, you certainly have the right to attend, and it could be a good idea to do just that. The fact is that ARD meeting participants will concentrate on modifications and accommodations for the student in their general education courses.

Because these students still take standardized tests, the primary focus will almost always be on science, math, and English language arts. Some of the strategies developed for these settings will transfer to the music setting, and some will not. Being in the room when these decisions are being made will provide valuable and unique insight into the learning process of the student being discussed and about how you can apply that to music instruction.

If you do not attend the ARD, it is important that you receive a copy of the student’s IEP. While the way in which IEP

documents are distributed varies across school districts, if you are teaching a student receiving special education services, you must have access to that student’s IEP. The IEP provides the vital information you need to understand how best to educate the child—and nothing else could be more important than this.

Every student has unique characteristics and behaviors that we learn as we teach them. I like to think of each student, special needs or not, as being like a combination lock. Over time a good teacher learns exactly how to turn the dial to unlock the student’s potential and facilitate the desired educational or behavioral outcome. Eventually we will see that the same combinations seem to work for other students as well. Our students with special needs are often our most unique and challenging to understand, and with these students the IEP can offer us stepby-step instructions on how to unlock their best. Without it, you may find yourself hopelessly guessing and possibly even giving up.

In his book Far From the Tree, author Andrew Solomon describes his observations of parents of children with special needs by stating, “Having exceptional children exaggerates parental tendencies; those who would be bad parents become awful parents, but those who would be good parents often become extraordinary.” I believe the same principle applies to teachers. The same techniques used to guide a productive and well-managed classroom are especially effective for many special needs students. Having clear behavioral expectations, giving simple instructions, setting up a well-organized room, and providing clear structure to the pace and flow of your class are all foundational for creating a successful learning environment. When instructing students with special needs, establishing this structured classroom environment is often imperative to ensure success and to

prevent the escalation of behavioral issues.

Reaching Out and Lifting Up Every school has a number of students who are extremely challenged in their ability to learn or communicate. These students may suffer from any number of extraordinarily debilitating disabilities, and I encourage you to reach out and draw them into your music classroom. Many band, choir, and orchestra directors on the middle and high school levels include students with severe disabilities to participate

Southwestern Musician | February 2013 25

Wayland School of Music Faculty Ann Stutes, Dean of the School of Music Conducting & Ensembles Hyung Chae: International Choir, Praise Ensemble Debra Buford: Wayland Singers Sarah Herrington: Spirit Timothy Kelley: Symphonic Wind Ensemble, Pioneer Marching Band Joseph Vandiver: Jazz Ensemble, Pep Band Boyce Wyrick: Chamber Orchestra

Keyboard Gary Belshaw Debra Buford Richard Fountain Melody Fried Music Education Debra Buford Timothy Kelley Sandra Mosteller

Instrumental Faculty Pat Brown: guitar Kimberly Hudson: flute Timothy Kelley: low brass Anthony King: percussion Sharon Mirll: high strings Sandra Mosteller: woodwinds Joseph Vandiver: high brass Boyce Wyrick: low strings Kevin Young: tuba

Voice, Opera & Musical Theatre Kimberly Brown Samuel Brown Brian Kuhnert Virtual Campus Douglas Brown Jennifer Brown Tammie Burger

Theory, History, & Composition Gary Belshaw Sandra Mosteller Scott Strovas Ann Stutes John Woicikowfski

in rehearsals on a regular basis. A director whom I know even invites these students to conduct the band from the podium— what an incredible opportunity for students who often find themselves otherwise excluded!

In addition to the educational benefits students with special needs experience by engaging in these kinds of musical activities, it is important we recognize the benefits to other students in our classrooms.

The inclusion of students with special needs in a performing ensemble provides an experience through which other students are able to learn about and appreciate their differently-abled peer. It is profound to witness through the eyes of a room full of seventh graders “the kid in the wheelchair” become just another trumpet player in the band. In a very powerful way, this experience is one of the most important that we can offer our students.

My Story When my son was seven months old, our pediatrician informed us that he was not developing at the appropriate rate.

Actually, we were told he had basically stopped growing. A well-intentioned

nurse gave us this information, with specific concerns about the fact that his head had ceased growing. The conversation that followed led my wife and me to believe that our son was going to be mentally retarded. This news was shocking, and we very quickly entered the normal stages of fear and grief associated with such news; however, we also told ourselves that our little guy was going to have an amazing life.

As I began imagining my son’s future, I knew that every person he would encounter for the rest of his life would either be doing things to help him or not. We would be traveling this new and unexpected journey together, and I was ready to take on the world for my child. It was around this point in the acceptance process that we received the most relieving call from the pediatrician’s office informing us that the data had simply been misinterpreted.

Our son was in no danger of growing up with a mental disability.

While we are certainly thankful our son is a healthy, rambunctious, and cognitively on-track two-year-old, our experience changed our lives forever. Believing what we did, even for a short time, pro-

vided me with a small yet incredibly powerful glance into the world that parents of children with special needs must experience.

I now see each child with an exceptionality as the child they are today and the child they were on that day years ago when their parents were informed that life was going to be a unique and challenging journey. By sharing this vision, we can all be encouraged to use every available resource to make each special journey more beautiful through the power of music.

Recommended Resources Music in Special Education, Mary S. Adamek and Alice-Ann Darrow.

Teaching Music to Students with Special Needs: A Label-Free Approach, Alice M. Hammel and Ryan Hourigan.

Children with Exceptionalities Special Research Interest Group website: linked at: www.tmea.org/smlink/exceptionality.

Russell Gavin is Assistant Professor of Instrumental Music Education at Baylor University.

Southwestern Musician | February 2013 27

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.

SUMMER 2013 Graduate Studies in Music Education TEXAS TECH UNIVERSITY SCHOOL OF MUSIC June 3 - 14 Learning & Music (L/V) Styles in Wind Literature (L/V) Band Strategies & Techniques (L) Music in Special Education (L/V)

Dr. Keith Dye Dr. Peter Martens Dr. Eric Allen Dr. Janice Killian

June 3 - August 7 Intro to Tech. Applications in Music Ed.

Dr. Keith Dye

(O)

June 17 - 28 Voice Building in the Choral Rehearsal (L) Orchestra Director’s Workshop (L) Tests & Measurements (L/V) Harmony & Voice Leading w/ AP Primer (L)

Dr. Carolyn Cruse Dr. Bruce Wood Dr. Janice Killian Dr. Peter Fischer

July 8 - 13 Band Workshop: Curriculum & PLanning

Dr. Keith Dye

(L)

(in conjunction with Band & Orchestra Camp, on campus housing available)

July 9 - August 9 Graduate History Review Symphonic Literature (O)

Dr. Stacey Jocoy Dr. Thomas Cimarusti

(O)

July 16 - August 1 Intro to Graduate Studies (L/V) Current Issues in Music Ed. (L/V) (L = Live, V = Videoconference, O = Online)

Intensive Music Education Courses –as brief as 2 weeks (plus online components) For more information: online –www.ttu.edu/music advising – 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

Dr. Keith Dye Dr. Janice Killian

2013 TMEA President’s Concert February 14, 8 p.m. • Lila Cockrell Theater • $15 Tickets THE DALLAS WIND SYMPHONY is the leading professional civilian wind band in the United States today. Comprising 50 woodwind, brass, and percussion players, the band performs an eclectic blend of musical styles ranging from Bach to Bernstein and Sousa to Strauss. They combine the tradition of the British brass band with the musical heritage of the American town band and the pioneering spirit of the 20th-century wind ensemble.

Under the direction of Artistic Director Jerry Junkin, the mission of the Dallas Wind Symphony is to bring extraordinary musicians and enthusiastic audiences together to celebrate the performance, promotion, and preservation of the music and traditions of the American windband.

E N - SI T O S T TICKE tion Booth E S A H forma n P U RC I n o rati Regist

featuring Håkan Rosengren

CLARINETIST H ÅKAN ROSENGREN has appeared as concerto soloist in Europe and the United States, has performed in recital throughout Europe, the U.S., Israel, and Asia, and has made numerous festival appearances around the world.

Rosengren’s repertoire includes all the traditional works for clarinet solo and chamber music, and he is a champion of new music. Composers who have written and dedicated works to Rosengren include Anders Eliasson, Poul Ruders, Jan Sandström, Henrik Strindberg, Alexander Lason, Nikola Resanovic, and Frank Ticheli. Chinese-American composer Chen Yi is writing a concerto for Rosengren to be premiered in 2014.

As featured soloist for the 2013 TMEA President’s Concert, Rosengren will be performing the Clarinet Concerto written for him by Frank Ticheli.

www.tmea.org/presidentsconcert Pick up prepurchased tickets and purchase $15 general admission tickets (if available) at the Information Booth in the registration area. Wednesday 1:30 p.m.–9 p.m. and Thursday 7:30 a.m.–6 p.m. (after 6 p.m. in the theater).

30 Southwestern Musician | February 2013

Håkan Rosengren’s appearance is sponsored in part by

20013 2013 Summer Organ Institute June 9-15

Baylor Flute Seminar June 9-15

High School Band and Orchestra Camp Band Grades 9-12/Orchestra Grades 10-12 June 16-22

Middle School Band and Orchestra Camp Grades 7-9 June 23-29

Summer Piano Institute June 23-29

All-State Choral Music Camp July 9-13

ORCHESTRA NOTES IMPORTANT DATES February 13–16—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 for the 2014 TMEA convention.

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

Selecting appropriate literature B Y

L I S A

M C C U T C H A N

I

hope you had a wonderful return to school in January are ready to jump into UIL contest preparations, musicals, solo and ensemble, spring banquets, TSSEC, and the final concert of the year. The second semester can always be quite stressful, but it can also be very rewarding. As directors we should look forward to the new challenges the second semester brings.

When discussing this semester with my colleagues, it seems that everyone talks about the challenges about programming music, particularly UIL literature, for our non-varsity and subnon-varsity groups. The challenge that exists for many of us who teach high school is selecting literature that will keep the students’ attention without also being overwhelmingly difficult. As our programs strengthen, it makes it more difficult to select great string arrangements that these students haven’t already performed in their middle school years. What should we consider when selecting non-varsity music? How do we come up with challenging repertoire that makes them sound good and teaches them music that will lead them into the next level of performance? In discussions with colleagues, I have come up with a few items that should help influence the proper music selections for your various ensembles.

First, consider the instrumentation of the group. If you have a small group of strings, you may want to consider selecting Baroque or Romantic literature.

How do we come up with challenging repertoire that makes them sound good and teaches them music that will lead them into the next level of performance?

32 Southwestern Musician | February 2013

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It is much easier for smaller groups to be rhythmically tight. Consider featuring soloists from your group who will be challenged. This will keep their enthusiasm up while maintaining manageable structure for the other students. If you have a young orchestra, avoid slow and sustained literature. Stick to key signatures such as C, G, and D major; avoid minor keys.

Get to know the strengths of your group. Are they rhythmically adept? What kind of tone do they produce? Consider bowing patterns that the students can master. Donâ&#x20AC;&#x2122;t select a piece of music that uses a spiccato bow stroke when the students have not been properly trained in that area. In selecting music, always look for qualityâ&#x20AC;&#x201D;donâ&#x20AC;&#x2122;t let it be gimmicky!

Meaningful and accessible arrangements of quality literature are available to select.

The music must be worthy of rehearsal and practice time and still be enjoyable.

Ask for student opinions after sightreading a piece of music. Do not use literature that the students can almost perfectly sightread. The teachable timeline to rehearse new literature for a stellar performance is about 6â&#x20AC;&#x201C;8 weeks. Always keep in mind that your orchestra is only as good

as its weakest player.

Thanks go to each of you for your support during my term as TMEA Orchestra Vice-President. It has been an honor serving the teachers and students in the state of Texas. I have learned so much from this amazing journey! I wish you and your students a wonderful second semester and remainder of the school year. Best of luck to you all!

2013 Clinic/Convention Update Hopefully you have finalized your plans to attend our annual convention in San Antonio. If you were unable to preregister, you can register on-site at the convention starting February 13 at 1 P.M. Go to www.tmea.org/convention

to view complete registration hours and details. Please refer to the December issue of SOUTHWESTERN MUSICIAN or go to www.tmea.org/convention for the tentative schedule online. Be sure to peruse the offerings from every division. This will be another exciting convention filled with quality clinics, including the TI:ME National Conference which includes a full-day technology preconference on Wednesday starting at 11:30 A.M. If you havenâ&#x20AC;&#x2122;t preregistered for that, you can also register on-site outside of CC 204 starting at 8 A.M. (the Wednesday preconference is a separate registration from TMEA registration).

In addition, this is our opportunity to hear the wonderful performances of our

Convention Registration Hours TI:ME Wed. Preconference..... 8:00 A.M.â&#x20AC;&#x201C;3 P.M. Wednesday ............................. 1:00 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.

DEPARTMENT OF MUSIC AVAILABLE DEGREES

2012â&#x20AC;&#x201C;2013 AUDITION DATES

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Southwestern Musician | February 2013 35

University of Houston Moores School Symphony Orchestra

All-State musicians, honor orchestras, and our invited university orchestra from the University of Houston Moores School of Music under the direction of Franz Anton Krager. Please make time in your schedule for these magnificent performances.

Thanks go to the Region Chairs, who have worked countless hours in their Regions. Bravo to each of you for your dedication and commitment to TMEA! Judging Panels, Monitors, Presiders, and Facility Committee Members If you are not assigned to a judging panel but will be in San Antonio on Wednesday evening, please stop by the judges meeting at 5 P.M. in CC 206.

Substitutes are always welcome. David DeVoto will coordinate the meeting of the All-State judges.

Each presider and facility committee member should have received information about their responsibilities and schedules. Contact me immediately if you have not. Thanks go to many of you who have volunteered your time at this convention.

Teresa Nguyen is this yearâ&#x20AC;&#x2122;s Facilities Chair. If you can work in the orchestra office for about an hour, please email her now at Teresa.Nguyen@nisd.net.

ments and studios. The high level of its performances has been hailed by international artists and critics alike as a student ensemble of professional quality and versatility. The MSSO appears regularly with world-class performing artists and has been featured at several TMEA conventions as well as at the Midwest Clinic in Chicago.

Membership in the MSSO is open by audition to all graduate and undergraduate students at the University of Houston.

During a typical school year, the MSSO performs an average of twice monthly, and engages all of the major orchestral genres including full orchestra, chamber orchestra, opera, oratorio, and ballet. The

MSSO collaborates on a regular basis with the Moores Opera Center, Moores School Choirs, and the Houston Ballet Academy.

It is a leading ensemble in the area of new music as well as being an important repository for the standard literature. The MSSO also sponsors the Moores School Concerto Competition, held annually. As an accompanying ensemble, the MSSO performs with soloists including MSM faculty, major guest artists, and students selected through the Moores School Concerto Competition. Many MSSO graduates have gone on to become professional level orchestra musicians, conductors, and leading music educators in the field.

The University of Houston Moores School Symphony Orchestra Franz Anton Krager, Director The 110+ member Moores School Symphony Orchestra (MSSO) is conducted by UH Director of Orchestras Franz Anton Krager. As a major ensemble, the MSSO performs as a musical partner with many of the Moores Schoolâ&#x20AC;&#x2122;s departSouthwestern Musician | February 2013 37

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Department of Music Music is our passion Excellence is our standard

Bachelor of Music

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ESSEN T I A L BUILDI NG B L O C K S

The Rehearsal Techniques of Robert Shaw

BY PAMELA ELROD HUFFMAN 40 Southwestern Musician | February 2013

I am frightened to death not only by concerts—but by rehearsals—the fear that I will not find the answers to what score study, my ears, and my heart tell me should happen.

(San Diego Choral Art Workshop, San Diego State College, 1953) he above statement was written during a series of workshops conducted by Robert Shaw, who was, at the time, only 37 years old. The insecurity evident in his words—insecurity certainly shared by many of us—is surprising when one considers the towering musical figure who wrote it. Thankfully, however, the same mind that produced those words also very consciously and deliberately developed techniques to overcome that insecurity.

Throughout his career, Robert Shaw believed that choral ensembles should exist on the same level of artistic competence as professional orchestras. This belief was manifested through his rehearsal techniques—preparation of a work was a process of gradual transference of accountability from the podium to the singers. Skills were layered one element at a time. He believed that attempting to teach everything at once would only lead to a confused and imprecise product where the music could not be revealed in a truly honest fashion. The following describes the process Shaw developed and believed in—a process to which he unfailingly adhered, regardless of the repertoire.

T

What you know won’t hurt you.

(San Diego Choral Art Workshop, San Diego State College, 1955) BEFORE REHEARSAL To emulate Shaw’s artistic approach, detailed preparation is clearly required: A. Thorough score study and analysis. Edit the score with painstaking care. Make as many musical decisions as you can prior to the first rehearsal.

B. Voice testing. Listen to every singer. After hearing all the singers, Shaw ranked them from highest to lowest voice in each section and assigned each person a number that corresponded to their placement in that section (e.g., fifteen singers in the alto section would be A-1 through A-15).

C. Create a seating arrangement. For every rehearsal create a seating arrangement that is best suited to the singers in the group or the rehearsal plan for the day. Shaw employed the following seating arrangements:

Do you usually begin your rehearsals with a warmup?

Yes. I suppose like other people, I used to do “mee-ah, mee-ah…” and I found that this was not nearly as important as educating the mind to what a unison sounds like. (Q&A session, “Robert Shaw’s Discussion Hour,” date unknown) THE WAR MUP Shaw spent about ten minutes of every rehearsal addressing tuning, ensemble blend, and development of the dynamic palette. Singers were expected to vocalize prior to rehearsal so that the warmup could be used to tune the ears and the minds.

Establishing this warmup discipline was crucial to the ensemble’s maturation into a truly expressive musical instrument.

Because this topic is too extensive for a comprehensive review here, go to www.singernetwork.org to find my article Choral Warm-Ups of Robert Shaw for notated warmups, aural clips of each warmup, and a detailed explanation of how and why each warmup is used.

Let the composer be the interpreter. Let him say what the music is about.

We get clearer if we handle technical problems; the spirit flows . . . Build rehearsal so they make as few mistakes as possible. (Q&A session, “Conducting Seminar,” Cleveland, Ohio, November 3, 1958)

THE REHEARSAL PROCESS BEGINS: COUNT-SINGING Count-singing is a procedure that teaches pitches and rhythms simultaneously and trains the singers to share a common pulse.

The premise is that all beats and subdivisions are chanted on proper pitches, changing pitches as the rhythm dictates.

Numbers are used as follows, “one-and-two-and-tee-andfour-and,” substituting tee for three because the consonant group in the latter takes too long to articulate. The example below illustrates the notated music on the top staff and what is actually sung on the lower staff: Ex. 1:

• Block sections: S1 S2 A1 A2 T1 T2 B1 B2.

• Large circle: beginning with the highest soprano and seating singers from highest to lowest voice by section. Or create a double circle with singers still in descending order from highest to lowest; however, alternate them between inner circle and outer circle. Another variation is to place the tenors and basses in the outer circle and the sopranos and altos in the inner circle.

• Sectional circles: Create a four-leaf clover shape with the conductor in the middle of the clover.

• Mixed formation in SATB quartets.

Southwestern Musician | February 2013 41

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Care should be taken to give each syllable equal emphasis and duration, avoiding the inherent strong/weak/strong/weak accents that naturally occur when singing subdivisions. A somewhat poco staccato articulation is used to keep the underlying pulse steady and rhythms clean. This holds true even for music that will eventually be legato (count-singing with legato articulation can produce too imprecise a result, impeding the goal of singers sharing a pulse, and it can inhibit forward motion and rhythmic accuracy).

During the initial stages of learning, singers should never sing louder than mezzo forte—to do otherwise can tire voices and compromise rhythmic accuracy.

During count-singing, the following principles are also applied: • Sixteenth notes are counted as “one-ee-an-duh, two-ee-anduh,” etc. A dotted-eighth note followed by a sixteenth note should initially be counted as “one-ee-an-duh” (applying a slight marcato accent to the final sixteenth-note pulse so that the singers agree on its precise location). Then have singers count it as “one…an-duh,” (absorbing the second sixteenthnote pulse) and then finally “one…duh” (absorbing the

second and third sixteenth-note pulses).

• Adjustments should be made to keep the counting as simple as possible. For instance, a passage in 4/4 that contains complex sixteenth-note patterns might be learned more quickly if the singers are instructed to count to 4 twice (i.e., the eighth notes assume the beat and sixteenth notes assume the half-beat [see ex. 2]). Also, compound meters may be counted as a series of 3s.

Ex. 2:

• For musical passages containing longer note values (half and whole notes), there is a common misconception that singers should sing the main beats without any subdivision. Doing this for an extended period of time, however, can negatively affect vocal stamina. Maintaining the subdivision not only keeps the voices active and supported, it also helps ensure the consistent tempo and intonation.

Learn Boldly. Live to Inspire.

SCHOLARSHIPS AVAILABLE: Da capo Award in Music Up to full tuition per year Jones Fine Arts Award for Music Majors Up to $4,000 per year Performance Awards for Non-Majors Up to $2,000 per year Scholarship Audition Dates: Sun., Feb. 24, 2013 @ 2–4 p.m.

Sat., March 23, 2013 @ 10 a.m.– noon Sat., April 20, 2013 @ 2–4 p.m.

Texas Lutheran University Contact 1.800.771.8521 or e-mail dboyer@tlu.edu

SCHOOL OF MUSIC

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

Bachelor of Music in All-Level Music Education Bachelor of Music in Performance Bachelor of Arts in Music

Southwestern Musician | February 2013 43

college of fine arts

Scholarship and Admittance audition dates feb 2, feb 23, mar 2 Brass, Percussion, Piano, Strings, Voice, Woodwinds

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For scholarship and entrance application information visit www. hsutx.edu/cofa or contact: H A R D I N - S I M M O N S UN IV ERS IT Y | HSU Box 16230 | Abilene, TX 79698 | cofa@hsutx.edu | (325) 670-1427 | www.hsutx.edu

• If a voice part moves above the staff for any length of time, sing down an octave to save voice (sopranos especially).

• In dotted rhythms, dots are dropped or at least decayed; a rest is inserted in place of the dot or the dynamic should diminish somewhat through the dot, so that the shorter note following the dot can be accented (the rationale is that the shorter, final note value in a dotted rhythm is often lost in the overall texture).

• When a note functions as an anacrusis (i.e., a pickup), it should be accented slightly.

The theory of successful choral enunciation is that each of the multitude of vocal sounds which in proper sequence combines with others to make up the human language (however unconscious, unnecessary, or undisciplined it may become in everyday speech) in the formal fabric of music, is to be clearly identified, positioned precisely as to time and pitch, and uttered with distinction, enjoyment, and ardor. (Handout “Drills for Choral Musicians, Enunciation #1,” date unknown) the production of text. Shaw emphasized the following axioms:

• If there is a rest, observe that rest just as you would when singing the printed notation. Then resume chanting beats or subdivisions with the next notated pitch (see ex. 1).

• Every syllable in every language has a beginning, middle, and end. Each of these must be pronounced clearly and correctly.

• Cut-time may be counted as 4/4 at first (depending upon the ability of the singers).

• Text is joined with rhythm before it is joined with proper pitches.

• When possible, put final consonants in the proper place.

This saves valuable rehearsal time when the words are added to the texture.

• Initiating vowels must occur on their respective beats or subbeats. Consonants that precede these vowels must occur in advance.

• Once pitches and rhythms are in place, begin to add dynamics, avoiding forte levels (dynamic extremes can be established in later rehearsals, once singers have moved on to either text or neutral syllables).

• For additional clarity of consonants, add a neutral syllable (the “schwa”), and assign it a rhythmic value, much like one would do in expressive solo singing.

• To alleviate boredom, have half of the choir count-sing while the other half sings an appropriate nonsense syllable, and switch periodically.

While these methods were certainly part of Shaw’s successful process, it is important to understand that he often stated that this technique was not appropriate for all types of music and in some instances could even be counterproductive. For instance, music that is highly complex rhythmically or set in rapidly changing or asymmetrical meters might just as effectively be taught on nonsense syllables. The important thing is to establish accurate pitches and rhythms, so take the simplest and easiest route to that goal.

Text can be added to the texture of the music in several ways, none of which include speaking, and all of which require that singers maintain accurate tuning as they progress through the series of vowels and consonants. Shaw’s methods included: • Homophonic texture: text is sung with proper rhythms on a unison pitch. If possible, a keyboard accompaniment of shifting chordal harmonies (that employ the selected unison pitch) should be included to support the voices.

• Contrapuntal texture: text is sung with proper rhythms using the whole-tone cluster of D, E, F , and G . This somewhat dissonant combination of pitches permits the conductor and

DYNAMICS Dynamic shading can and should be added during the count-singing phase.

As stated above, however, extremely loud dynamic levels should be avoided; rather, the singers should apply a suggestion of the dynamic shaping in forte passages.

Once pitches and rhythms are in place, the choir can move from count-singing to nonsense syllables and begin to add more true dynamics. The rhythmic “pacing” of dynamic shading has already been established somewhat—now the full range of dynamic shading can be built into the voices.

TEXT Just as the chorus has agreed on the production of the other elements in a piece of music, so must it agree on matters regarding

Southwestern Musician | February 2013 45

2013 Admissions & Scholarship Auditions February 23rd March 9th March 23rd (Additional dates upon request) Auditions are required of all entering and transferring music majors

Degrees Offered Bachelorâ&#x20AC;&#x2122;s Degree in Performance & Music Education Master of Music in Performance, Conducting & Music Education

Full time Graduate Students Graduate Assistantships are available.

Assistantships include a $4000/semester stipend and may include full tuition.

Summer Cohort Program 8 hours of course work are offered each summer at the A&M-Commerce Mesquite Metroplex Center. The 30-hour Master of Music degree in Music Education with emphasis in secondary choral and elementary can be earned in 4 summers.

The Texas A&M University-Commerce Chorale and Wind Ensemble in performance in New York Cityâ&#x20AC;&#x2122;s Carnegie Hall

WWW.TAMUC.EDU/MUSIC

A Member of The Texas A&M University System

the singers to clearly hear the structure of the counterpoint.

Using a more consonant combination of pitches (e.g., a major triad) or a unison pitch obscures that potential clarity.

Shaw used the pitches in two ways (SATB divisi and from highest to lowest pitch): Ex. 3: 1.

2.

Again, keyboard support at this stage is helpful. The accompanist should play the assigned pitches according to the rhythms of the voice parts rather than simply repeating all of the pitches on a continuous basis.

Note: To keep things interesting, Shaw would sometimes begin a series of modulations every few measures, ascending by a semitone each time in all voice parts.

• If the singers are not unified in their pronunciation of a text, assign one beat to each syllable and chant on a unison pitch or a whole-tone cluster. This will enable you (and the singers) to hear more clearly where the inconsistencies are occurring.

• Ask half the choir to sing text with proper pitches and half to count-sing (counters should be the predominating texture),

and switch periodically.

• A variation of the above is to have half the choir sing on a nonsense syllable and half sing text.

Perfect music without inspiration is soulless. Truly inspired performances cannot happen without adequate preparation.

Robert Shaw realized the necessity of a strong partnership between the practical and the emotional when it came to great choral artistry, so he would lay the groundwork for the music in the same way that the composer did. Then, once the choir became fully accountable for the structure of the piece, the true magic of emotion and interpretation could emerge.

And magical it was . . .

RESOURCES The quotes included in this article came from documents housed in the Robert Shaw Papers at Yale University, New Haven, Conn. (this collection is open to the public by appointment). Many documents are handwritten or typed notes loosely compiled in folders, so specifics of dates and places are not always available. An additional resource for learning about Shaw’s techniques is the series of DVDs entitled Robert Shaw—Preparing a Masterpiece, available for purchase from www.carnegiehall.org.

Finally, the author acknowledges the assistance of W. John Proft in creating the musical examples included in the article.

Pamela Elrod Huffman is Director of Choral Activities at SMU Meadows School of the Arts. Images of Robert Shaw are by Charles M. Rafsoon. Images provided courtesy of the Atlanta Symphony Orchestra Archives.

Southwestern Musician | February 2013 47

A U D I T I O N D AT E S F R I D AY

S AT U R D AY

S AT U R D AY

February 1, 2013

February 9, 2013

March 2, 2013

( V O I C E O N LY )

* P M &EBRUARY MEET $EAN 7ILLIAM 6 -AY AT THE DESSERT RECEPTION FOR "AYLOR ALUMNI AND FRIENDS 2IO 'RANDE "ALLROOM OF THE (YATT 2EGENCY (OTEL

Auditions are required of all entering and transferring music majors.

FOR MORE INFORMATION: Baylor University School of Music /NE "EAR 0LACE s 7ACO 48 www.baylor.edu/music and click on â&#x20AC;&#x153;For Prospective Studentsâ&#x20AC;? s -USIC?!DMIT BAYLOR EDU

Steal like an artist B Y

J A N W I N

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

I

n his book Steal Like an Artist, writer and artist Austin Kleon shares ten things “nobody told you about being creative.” The book begins by expanding on the title— figure out what’s worth stealing, and then move on to the next thing. The premise is that there are no original thoughts. Artists derive their inspiration from other artists and the world around them. Kleon also quotes basketball great Kobe Bryant, who confesses that all of his moves were stolen from players who came before him.

Topic number six in the book is especially pertinent to choral directors: Do good work and share it with people. We are fortunate that the 2013 TMEA Clinic/Convention provides both an opportunity to steal ideas and to gain inspiration from our many outstanding clinicians and conductors; they will be in San Antonio to share their good work with the directors of Texas. As music educators, we should take advantage of the skills and expertise of our colleagues.

Whether it’s a conducting technique, a literature choice, or a vocal warmup, opportunities abound to learn new methods and practices.

Nationally recognized middle school expert, Judy Bowers, will provide four sessions geared to the middle school teacher: “Voicing Your Middle School Choir,” “Part-Singing Success,” “Expressive Singing Through Effective Teaching,” and “Critical Thinking in the Choral Rehearsal.” These topics are pertinent and relevant, especially in today’s atmosphere of teacher performance evaluation. (We also recently benefited from her expertise in an article published in the January issue. Go to www.tmea.org/magazine to read it.)

In addition to Bowers’s sessions, eighteen other Vocal Division clinics will be offered, ranging from rehearsal techniques to tone building, and including sightreading, advocacy, the aftermath of auditions, and recruiting. Master teachers from Texas and across the nation will be in San Antonio sharing their experience and expertise with us.

A few nontraditional workshops will also be available to the Vocal Division: in a panel discussion led by Sally Schott, clinicians will focus on how to define and achieve success despite the odds. In Sheri Neill’s session, she will focus

VOCAL NOTES IMPORTANT DATES February 13–16—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 for the 2014 TMEA convention.

May 1—Postmark deadline for the 2014 TMEA convention performing choir application.

The convention promises to provide both wisdom and inspiration to renew, refresh, and revitalize your teaching—and to steal like an artist.

Southwestern Musician | February 2013 49

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

UT ARLINGTON ADMISSION AND SCHOLARSHIP

AUDITIONS UNDERGRADUATE Saturday, February 23, 2013 Q Saturday, March 2, 2013 Q

Voice only Saturday, April 20, 2013 (non-scholarship)

GRADUATE

Master of Music in Performance CertiďŹ cate in Keyboard Performance Q

Saturday, February 23, 2013

Alternate dates by appointment

For applications and more information, visit

www.uta.edu/music

on how master teachers inspire their students. Other clinics will feature the allschool musical and how to successfully collaborate with your accompanist. And, as our state grows ever more diverse, Mackie Spradley will discuss culturally responsive practices for the secondary choral director.

Along with the offerings from the Vocal Division, TI:ME will also be presenting clinics covering available technology (old and new) for the choir classroom.

Learn how to live-stream your student concerts or how to fully utilize that interactive whiteboard that’s in your classroom. Discover how to use technology in student assessment and how to communicate with 21st-century students. Be sure to take advantage of the wisdom of these technology experts as well.

Twelve concerts by Invited Performing

Choirs will be featured during the convention, ranging from a middle school boys choir to a collegiate chamber choir.

Use this opportunity to discover new literature as you listen to these outstanding Texas choirs perform. The three All-State Choirs will be performing on Saturday, and their rehearsals Thursday and Friday are open to attendees. Take advantage of this occasion to observe master conductors in the Grand Hyatt’s Lone Star Ballrooms on Thursday and Friday.

As always, when you review the schedule, don’t just look at clinics and concerts designated for the Vocal Division. With over 300 clinics being offered across all divisions, you’ll find a wealth of opportunities for professional growth, development, and inspiration.

The convention promises to provide both wisdom and inspiration to renew,

SOMETHING TO ABOUT

sing

refresh, and revitalize your teaching—and to steal like an artist.

Convention Schedules When you create a convention schedule online you will have completed the first step in creating your Continuing Professional Education record. The personal schedule allows you to search for clinics, print your schedule, and save it to change it later. Starting February 1, handouts provided by clinicians will be available online for TMEA members.

In addition to the December magazine’s convention preview, the online personal schedule, and the on-site printed convention program, TMEA offers the mobile convention guide. Build a schedule, view floor plan maps, find exhibitors on the floor, and more. Download the app from www.tmea.org/convention.

Craig Hella Johnson, internationally acclaimed conductor and artistic director of Conspirare, joins our distinguished faculty of artist-teachers.

As artist-in-residence, Dr. Johnson brings additional depth to our school’s vibrant culture of singing, which helps young musicians master skills for professional success and artistic enrichment.

Texas State offers: • Six choral ensembles • Graduate assistantships and scholarships • Master of Music Education • Master of Music in Choral Conducting

Learn more: www.txstatechoirs.org

From left to right: Jonathan Babcock Associate Director of Choral Activities Craig Hella Johnson Artist-in-Residence in Choral Conducting Artistic Director – Conspirare Joey M. Martin Director of Choral Activities National ACDA R&S Chair – College and University Choirs Lynn Brinckmeyer Director of Choral Music Education Past President of NAfME (formerly MENC)

Southwestern Musician | February 2013 51

Two Exhibit Halls.

Over 1,100 Booths.

Thurs 10 a.m.–6 p.m. • Fri 10 a.m.–5 p.m. • Sat 9 a.m.–2 p.m.

Hen r y B. G on za le z Conv ent ion Cent er, S a n A nt on io 52 Southwestern Musician | February 2013

Chamber Singers James Morrow, conductor

2013 TMEA Clinic/Convention Performing Group February 14, 2013 | 8 pm Henry B. Gonzalez Convention Center Ballroom A

Listening The World is

m u s i c . u t e x a s . e d u

s

c a i s l u M i t s i o n a n r T

Keep Elementary Students Learning

by Kristina Caffey and Loren Tarnow

E

ven when we plan the most effective lessons that help students develop their musical knowledge, if the time in between each lesson isn’t effectively utilized, it can lead to distraction and possible behavior problems. This downtime will ultimately affect our ability to deliver lessons effectively and will slow our students’ learning. Given the brief amount of time most elementary music teachers spend with their students, it is imperative to make the most of every moment. By making transitions from one activity to the next meaningful and musical, student engagement and learning can continue.

How do you move your students from one activity to the next? Do you just yell “fire!” and watch them run? While that is unlikely, your students’ behavior during these transitions might seem like you have!

If instead you plan effective and relevant transitions, students can calmly move to the next activity in an organized and safe manner. They can stay engaged and behavior issues can be reduced.

The lessons will continue with a musical flow, and students will learn to connect games and other activities to musical elements.

As has been repeatedly proven that if we keep our students focused and involved in music, there will be less talking and more music-making—and this all starts with the teacher. Less talking from the teacher will result in greater student interest and fewer

opportunities for them to be off-task. If we plan transitions that continue to offer musical content, the entire time they are in our classroom will be spent learning.

MAKING TRANSITIONS MEANINGFUL While it can seem challenging at first to create transitions that are musical and that tie into the lessons you are teaching, once you begin creating them, you will find the benefit greatly outweighs the planning time involved. Some transitions can be used for multiple songs and activities, so including them doesn’t mean that you will have to plan for every transition time. Students will enjoy incorporating something new and this will keep them engaged.

Meaningful transitions can be used between every activity, and the more frequently they are practiced, the more smoothly transition periods will become.

Transitions should utilize authentic music and elements that are grade-level appropriate and should include elements currently being used in class (e.g., a rhythmic transition for a rhythmic element). They should be purposeful and easily understood by students. If students don’t appreciate the reason for a transition, they will be less likely to practice them the way you desire. Make sure your instructions are clear and precise.

EFFECTIVE TRANSITIONS:

• utilize authentic and grade-level appropriate music and elements.

• are based on elements currently being used in class.

• are purposeful and easily understood by students.

Southwestern Musician | February 2013 55

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Rhythm Transition: A meaningful transition can be as simple as having students walk to the beat of a drum or walk while they tap the rhythm of the game song. More advanced students may be able to draw the phrases of the song, sing on rhythm syllables, sing and sign the solfège, or set up instruments as their transition. This transition can bring students back to their seats while preparing them for the next activity.

In the game Riding in a Buggy, pairs of students join hands, standing in a circle in promenade position. The students promenade counterclockwise in a circle during the verse “Riding in a buggy Miss Mary Jane . . .” On the refrain “Who mourns for me? . . .” the students keep the beat while playing a form of pat-a-cake (pat, clap, partner, clap). For a musical transition to the next activity, students walk back to their seats while clapping the rhythm for the phrase “Who mourns for me?”

After they return to their seats using this transition, the students are set up to practice reading the rhythm from the board.

Students read the phrase written on the board and then individual students can come to the board and draw lines to connect rhythms to a phrase from other known songs (see Fig. 1). You can then have them transition into singing “My Paddle” in canon.

“Flashing with silver”

“Who mourns for me?”

“My paddle’s keen and bright” Fig. 1

1.

3.

s

s

s

l

s m d

4.

2. l s

5.

m r Fig. 2

d

Tucker’s dog.” With two changes, students have transitioned to the first phrase of Little Tommy Tiddlemouse.

INSTRUMENT SETUP TRANSITIONS Setting up instruments can take time, and we rarely have adequate time in between classes to prepare for the next. If instead you spend time at the beginning of the year teaching students about the instruments and how to take care of them, they can handle setting them up.

Using melodic transitions is very helpful for setting up instruments. For example, if you want students to play a pentatonic scale, have them sing the scale (drm sl) while assembling the xylophones in the correct key. Then they can play the scale and match their pitches. If they begin singing off-key, you can use this as a learning tool and ask them if the pentatonic scale they played was higher or lower than what they were singing.

Melodic Transition: An example of a simple melodic transition is with the game Bow Wow Wow. In this game, students start LISTENING EXERCISES in a single circle. Students face a partner while staying in the Transitions into listening exercises can also be simple. In the circle (make sure everyone has a partner). For the first phrase game Great Big House, students start in a single circle. Number “Bow wow wow,” students march to the rhythm. On phrase two students as ones and twos until each has an assigned number.

“Whose dog art thou,” students put arms out like asking a quesOn the first verse students hold hands and walk clockwise while tion. Then on phrase three “little Tommy Tucker’s dog,” students hold hands with NEW FROM MIE PUBLICATIONS their partner and trade places. For the last phrase “Bow wow wow,” students stomp the beat again but jump and turn around at the end of the song. Now they have a Possibilities for the Music Classroom new partner. You then start the game again,

By Roger Sams and Beth Ann Hepburn and if played correctly, students should end An extensive collection of 30 developmentally sequenced up with their first partner at the end of the lessons for learning about music by making music. This game. collection incorporates strategies from Dalcroze Eurhythmics, After the students play the game, isolate Kodály and Orff Schulwerk. Flexible design makes this resource the third phrase “little Tommy Tucker’s helpful to all teachers, first-year to seasoned educators! dog” (melody shown in Fig. 2, no. 3) by BR1 Purposeful Pathways, Book 1 $79.95 singing it on a neutral syllable such as loo.

BR1-CD Purposeful Pathways, Book 1, CD-ROM Companion $20.00 Have students identify the pitches used in that phrase and sing the phrase on solfège PURPOSEFUL PATHWAYS PROVIDES THE MUSIC SPECIALIST WITH VALUABLE TOOLS to integrate (ss sl sm d). Next (as seen in Fig. 2), students singing, playing of instruments, and creative and purposeful movement. While these lessons can be used across many elementary grade levels, Roger and BethAnn have created movement ideas for can read the pitches from stick, then step, young children to imitate animals or characters and explore rhythmic pathways, and movement for and lastly from staff notation on the board. later grades that coordinate specific durations or rhythmic ostinato patterns with the text and music.

Additionally, you can erase and replace one R. J. David Frego, Ph.D., Chair of the Department of Music, The University of Texas at San Antonio. pitch at a time to transition the phrase into another known song (nos. 4–5). In this 800-888-7502 | www.MusicIsElementary.com example, no. 3 is the phrase “little Tommy

Purposeful Pathways:

Southwestern Musician | February 2013 57

Fig. 3

singing. On the verse two phrase “went down to the old mill stream,” ones step forward and hold hands. All twos step in between the ones (they stay in the same place they were when in the single circle). On the phrase “to fetch a pail of water,” they pretend to get water from the well and hold hands with the twos.

While singing “put one arm around my wife and the other ’round my daughter,” twos put their arms around the ones (while ones hold hands) and then the ones do the same (now their arms are woven together). Lastly, students walk clockwise (while woven together in a step together motion) on verse three.

After students play the game for Great Big House, isolate the rhythm of the first phrase and instruct the students to tap that phrase while walking back to their seats. Students can then read that rhythmic pattern on the board as part of the stick notation for Haydn’s Symphony No. 94, Movement 2 (Fig. 3). Then they play the melody on an instrument while students continue to tap the rhythm. You can immediately follow this by playing a recording of the music. Students can even discover the rhythmic changes in the piece. More advanced students or afterschool choirs can even sightread the pattern on solfège and sing along with the recording every time the pattern repeats.

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Musical transitions can be beneficial and practical to use between all activities, they can be incorporated at any grade and skill level, and they can be simple to create. Incorporate musical transitions and enjoy improved behavior, musicality, and interest level during your lessons. Be brave, creative, and have fun— everyone will benefit!

RESOURCES Erdei, Péter, and Katalin Komlós. 150 American Folk Songs to Sing, Read and Play. New York, NY: Boosey & Hawkes, 1974. Print.

Locke, Eleanor G. Sail Away: 155 American Folk Songs to Sing, Read and Play. [S.l.]: Boosey & Hawkes, 2004. Print.

Little Tommy Tiddlemouse-Traditional English Rhyme (Public Domain) “My Paddles” (or “The Canoe Song”) Johnston, Richard. Folk Songs North America Sings: A Source Book for All Teachers. Toronto: E.C.Kerby, 1984. Print.

Kristina Caffey is a Music Specialist at Teravista Elementary (Round Rock ISD). Loren Tarnow is a Music Specialist at Hart Elementary and Brentwood Elementary (Austin ISD).

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B Y

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H O B I Z A L

T

ime flies when you’re having fun! I have collected a wealth of musical activities, songs, rhythms, and dances attending TMEA Clinic/Conventions and TMEA Region workshops as well as from time spent online via Project Share, Edmodo, Pinterest, and music blogs.

Throughout my columns, I’ve mentioned something about each of these, with the exception of music blogs. Elementary music teachers across our nation and world have created blogs filled with music lessons, activities, and even videos of their students in action. Through Pinterest (I might have mentioned that I love this site), I’ve had great conversations with numerous music teachers across the nation about the blogs they have created. Some use blogs to keep parents and other music teachers updated on the activities used in their music rooms. Others enjoy creating new and exciting lessons for their students and anyone else. Do you want to do something different or need a new idea to get your creative ideas flowing? Check out these music blogs for an example of the wealth of information available online!

• www.klsriley.com • www.emilyskodalymusic.blogspot.com • www.eclecticmusicteacher.com

ELEMENTARY NOTES IMPORTANT DATES February 13–16—TMEA Clinic/Convention in San Antonio.

April/May—Attend your spring Region meeting.

April–June 1—Submit clinic proposals online for the 2014 TMEA convention.

June 15—Postmark deadline for the 2014 TMEA convention elementary performing group applications.

• www.mrsqsmusicblog.blogspot.com/2012/10/newsletters.html • www.cphmusic.net

“To make the day a brighter one, to make the task a lighter one, let’s sing a song together!”

—Grace C. Nash (from her book Primary PrePrimary Songs & Verses and Orff Instruments) Southwestern Musician | February 2013 61

What Does TMEA Have to Offer Me? Answer #5 For several months I have been giving you challenges, tips, and information to answer this question, and here’s the fifth: TMEA offers us simply the best and largest clinic/convention in the nation, along with an amazing staff who will do everything they can to support your music program.

2013 Clinic/Convention Update The 2013 TMEA Clinic/Convention is almost here! Our goal was to give you so many options that you would have a hard time deciding which session 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 personal schedule. This will help you allocate your time and will make it easier to complete your CPE record online after the convention.

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

2. Download the mobile convention guide: This app will help you have all the latest and greatest information about the convention.

3. Follow TMEA on Facebook, Twitter, and Google+: During the convention, TMEA uses social media to keep you updated with reminders and changes in the schedule (e.g., lastminute room changes and cancellations). Follow TMEA to stay updated throughout the convention. Go to www.tmea.org and find links to each at the bottom right of the homepage.

4. View clinic session notes: If you cannot decide which session to attend, review clinic handouts. TMEA members can log in and access these notes starting February 1. Some of you may still want to print the notes to have with you or you might store them to view from a mobile device.

A former teaching partner of mine makes a convention book with all the session notes (including blank paper for notes) then binds them together.

2013

Auditions

5. Open P.O.s: If your district will let you bring an open P.O.—fantastic!

You will want to be prepared for all the great vendors in the exhibit halls.

Everything you could possibly imagine for your music room (and much more) will be in the exhibit halls.

6. Take TI:ME for technology: The Technology Institute for Music Educators (TI:ME) is hosting over 80 technology workshops throughout the convention (29 being presented during a special preconference on Wednesday). Check the online schedule and convention program for the wonderful elementary sessions being offered.

7. Attend the Elementary Division Meeting: We will be voting on the next Elementary Vice-President, so come cast your vote and show your support. The drawing for over $6,000 in instruments and prizes will certainly not disappoint. Brian Halverson (with our own Vanna girls—Carol Sullivan & Karen Bryan) will no doubt amaze you with the

Music

At Lamar University January 26, 2013 March 2, 2013 April 20, 2013

Contact Scott Deppe to schedule audition: scott.deppe@lamar.edu

www.lamar.edu/music For more information contact Lamar University Mary Morgan Moore Department of Music P.O. Box 10044 Beaumont, TX 77710 (409) 880-8144 Southwestern Musician | February 2013 63

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wonderful instruments and products supplied by our fantastic and supportive industry vendors. Don’t forget that Brian often hides prizes in the gift bags you receive when you enter!

8. Dress comfortably: Elementary music teachers do not sit at our convention. We are up and moving around, playing instruments, folk dancing, and moving to the music. If you can dance and wiggle while wearing stilettos, go for it. Just wait until you are in one of the third-floor ballrooms moving to and with the music and also feel the floor moving! Secondary directors don’t realize what they are missing! Only in Texas can we have this much fun learning!

9. Take time to go to the exhibits: We have wonderful vendors and the exhibit show continues to grow every year. Two large exhibit halls will keep you busy. Our vendors help keep your costs down, so make sure you tell them how much we appreciate their commitment to Texas music educators.

Texas Elementary Teacher of the Year Finalist Our congratulations go to TMEA Elementary Division member Jami Lupold for being a top three finalist for Texas Elementary Teacher of the Year!

It’s incredible to have a music educator earn such a distinction in our state! Jami is an elementary music teacher in Pasadena ISD. She advanced from being named the Pasadena ISD Elementary Teacher of the Year (TOY) to Texas’s Region 4 2012– 2013 Elementary TOY. Then she reached the top, being one of three finalists for the 2012–2013 Texas Elementary TOY. Jami has developed relationships with organizations, businesses, and individuals throughout the Houston community and internationally. She actively listens to their ideas for collaborations that benefit both education and the group whom they represent. These collaborations have not only built bridges that bring great innovative learning opportunities but have planted the seeds to help those who are not in education to have a different view of how exciting and engaging education can be. Jami has worked collaboratively

with the Houston Symphony, numerous NASA astronauts, and with the Building Cultural Bridges program. (Search the SOUTHWESTERN MUSICIAN online archives for stories about this program published in February 2007 and February 2011.)

Her students are currently working with astronaut Chris Hadfield to collaborate on a song for the first album to be composed and recorded in space. This spring they will perform with Hadfield, who will be playing live from 240 miles up on the International Space Station for an international webcast with NASA’s Digital Learning Network. When you see her at our convention, be sure to ask her about when she was at Harvard Graduate School of Education’s “The Arts and Passion Driven Learning” and played bumper cars with Yo-Yo Ma! Come Join the Gang on Edmodo!

This is a site all TMEA elementary music teachers can join. Follow these simple steps and return often for more offerings at www.edmodo.com: 1. Click “I’m a Teacher” to set up your account (it’s free!).

2. When you have created your account, find the word Groups on the left-side tab.

3. Click on Join.

4. The code of TMEA Elementary Music Teachers is 98LVK0.

A Wonderful Adventure!

This is the end of my term as the TMEA Elementary State Chair and VicePresident. Two terms on the TMEA Executive Board fueled my passion to continue to be an advocate for fine arts.

I am extremely proud to have served with such distinguished educators. I will forever look up to Robert Floyd and Frank Coachman for their continual devotion to Texas music education. I am constantly impressed by the amazing work the TMEA office staff accomplishes every day. If you ever have questions or concerns, do not hesitate to contact them. I am grateful to the fine arts directors and music teachers of Katy ISD for all their support, advice, and friendship. I cannot stress enough to every elementary music teacher to be an active member of TMEA. Get to know your Region officers and plan to one day be an officer yourself. Stay updated on educational issues that affect music education. TMEA is so much more than an incredible convention. Find out how you can support music in Texas!

This has been an amazing ride! I have learned how to effect change and developed the diligence needed to be an effective advocate communicating the importance of music in creating the adults of tomorrow. Thank you for your support.

As I have said before, I will not go quietly into the night!

Southwestern Musician | February 2013 67

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Choosing the Right Technology

by Joseph M. Pisano

A

lmost daily it seems that we learn about a new development in technology—an advancement that improves on a tool we already have or a completely new way of doing something. In recent years, some of these advances have affected us significantly in our personal and professional lives. As music educators, we are faced with increasing opportunities (and demands) to incorporate technology in our instruction and administration of our programs. With the ever-expanding variety in software and hardware choices alone, deciding how to utilize technology can be overwhelming.

When considering this question of when to utilize technology in our classrooms or with our ensembles, the answer is straightforward: Educators should utilize available technologies when appropriate. Of course, determining when and what is appropriate can be quite exasperating even for seasoned teachers. Music teachers are being

asked to incorporate technology into their existing courses with little thought as to the best practices to accomplish the integration or whether the technology itself is effective in the context of the course goals. Adding to the technological integration impetus is an increased sense of urgency for technology inclusion, due in part to national curricular initiatives such as the “Common Core State Standards” and others.

instruction; however, various materializations of it can easily be used in the collaborative, compositional, production, and music-making processes. Regardless of the types of technology being referenced or how they are being used, wise decisions must be made concerning whether to adopt them into the classroom environment.

Often the success of any new technology integrated into a curriculum is directly related to the teacher’s level of mastery with the technology itself. Teachers must become f luent with the technology they are trying to incorporate to obtain the greatest benefit from its usage. Having only a surface understanding of the technology in question will likely result in a tremendous amount of personal grief for the teacher, and any potential benefit the students might have obtained will likely be compromised. Before deciding to use any particular technology (electronic or not) in the classroom, serious thought should be given to how it will be

Choosing appropriate implementations of technology will allow teachers to better educate and inspire their students and will help students learn and grow in the best possible ways.

Most people today tend to think of “classroom technology” as limited to electronic technologies such as a desktop computer, LCD projector, interactive whiteboard, or iPad. Additionally, a number of music teachers still view “electronic music technology” as only tools that aid

Southwestern Musician | February 2013 69

implemented and to the positive efficacy of its application for the students, teachers, and the school in general.

The following are some questions to answer when considering whether to incorporate technology in the music classroom: Does the technology allow the accomplishment of any given task to be easier?

Using technology does not always simplify complex tasks. In fact, it is quite possible for a relatively simple task to be made more complex by the addition of a new technology. Do not employ technology just for its own sakeâ&#x20AC;&#x201D;it must offer a clear benefit before you consider its incorporation. For example, utilizing a system that supports the many administrative tasks involved in your job can help maximize your efficiency in that area. Being able to store and access information quickly and in a way that reduces the redundancy of work can make many of your administrative tasks simpler. In this case, you might find the initial setup of this system to be more complex and time consuming than

70 Southwestern Musician | February 2013

choosing to stick with your current paper methods, but in the long run, you will realize a great return on that investment.

Does the technology allow teachers to be more effective in reaching their course or ensemble outcomes?

If the technology allows a teacher (or director) to more effectively communicate their classroom goals or provides opportunities for the students to better meet the goals of the lesson, then there is good reason to incorporate the technology. For example, while using a traditional whiteboard can work, incorporating an interactive whiteboard into your instruction can increase student engagement and accommodate all abilities and learning styles (visual, auditory, tactile/ kinesthetic). It can also be an effective tool for students with special needs.

Does the technology provide efficiency benefits?

If the technology allows any given task to be properly completed in less time without compromising any level of

quality, there is a good reason to incorporate the technology. When evaluating the technology solution, ask these questions: Are the students able to successfully learn a concept faster? Does the technology cut down on the time to administer a task? Does the technology provide a more succinct or better way to present a topic?

For example, interactive music software can help with lesson presentation, individual practice, and in student assessment. Incorporating this type of software can not only increase the effectiveness and efficiency in your group instruction but also can streamline making student assignments and help individual student progress and accountability.

Does the technology allow you to offer something that would be impossible without it?

If you can add to the opportunities available to students by offering additional experiences through a particular technological product, there is good reason to incorporate the technology. For example, you could use Skype to bring an outside expert into the classroom, or you could

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Is the technology going to take too much time to learn?

Given the significant time constraints all teachers face and the large variance of technological aptitude, this might appear to be a hard question to answer at first.

The reality is, however, that both hardware and software have become substantially easier to use and quite a bit more intuitive over the last ten years. It is not uncommon to see a two- or three-yearold show proficiency with an app or to observe a twelve-year-old with mastery in the various manifestations of technology!

Regardless of one’s age, the ease of usability in new technologies, coupled with the learning resources available through the Internet, creates a great equalizer in who can develop technological aptitude. There are overviews, tutorials, PowerPoint presentations, forums, social media groups, eBooks, podcasts, and a host of other resources available for anyone wanting to learn, and these resources are available at any time. A can-do attitude might be all that’s needed.

Is the technology too costly?

This could be considered the “milliondollar question.” Yet the shrinking costs of computer-related technology, the proliferation of affordable broadband connections, and the wide availability of computer labs in most schools allow music teachers to capitalize on course-specific classroom software and technology.

With a school’s general computer lab, outfitted with low-cost USB music keyboards, music teachers can enjoy endless teaching opportunities. This lower-cost option can make a full-blown (and fullpriced) MIDI computer lab no longer necessary. Hundreds of low- to no-cost software titles are also now available via the Internet, and many of the higher priced music software programs of yesterday are drastically lower in price today or are available at deeply discounted academic or group discounts.

and hardware experts, organizations, and group forums. Having access to these types of product reviews, with both expert and collaborative opinions, makes it much easier to decide what will work in any given circumstance, as well as to easily discern what constitutes good and useful technology for use in the music classroom.

Music educators are privileged and entrusted with teaching one of the most creative and useful academic subjects which is also arguably the most effective means for students to acquire the desired 21st-century skill set.

Choosing appropriate implementations of technology, whether as tools to use with traditional music instruction or as vehicles for new approaches to music creation and instruction, will allow teachers to better educate and inspire their students and will help students learn and grow in the best possible ways.

What variation of any given technology is best?

The advent of social media sites such as Facebook, LinkedIn, and Twitter have made finding expert opinions easy. In addition, there are hundreds of music technology-related websites and articles written by music educators, software

Joseph M. Pisano, PhD, is the associate chair of Music and Fine Arts at Grove City College and is the current Vice-President of TI:ME. Pisano is the founder of a number of popular web resources including MusTech.Net and the Music Teachers and Jazz Educators Facebook Groups.

TI:ME Music Technology Preconference WHAT IS IT? As part of the National TI:ME Music Technology Conference being held in conjunction with the TMEA Clinic/Convention, this one-day event features a concentration of 29 sessions on music technology. Attend this preconference and discover ways to reach your students more effectively by incorporating technology in your instruction!

HOW TO REGISTER ON-SITE If you did not preregister for this Wednesday preconference, you can still attend. Go to the foyer of CC 201–204 Wednesday starting at 8 a.m. to register on-site. At only $50, this special concentration of technology clinics is an incredible value. If you did preregister for the preconference, go to the foyer of CC 201–204 to pick up this badge (Wednesday 8 a.m.–3 p.m.).

WEDNESDAY FEBRUARY 13 11:30 a.m.–7 p.m.

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have students use software that allows them some of the creative benefits of composing without having to know how to write traditional notation, etc.

iPads music labs podcasting assessment social media creating apps free technology digital portfolios website development interactive multimedia Southwestern Musician | February 2013 73

College Division important reminders B Y

COLLEGE NOTES IMPORTANT DATES February 13–16—TMEA Clinic/Convention in San Antonio.

April/May—Attend your spring Region meeting.

April–June 1—Submit clinic proposals for the 2014 TMEA convention.

K E I T H

D Y E

A

s you receive this issue of SOUTHWESTERN MUSICIAN, our convention is just days away. It is possible you have already created your personal schedule online and downloaded the mobile convention guide app to your smartphone or tablet.

With that, I still wanted to take this opportunity to call your attention to just a few events and offerings that every College Division member should consider attending.

Featured Clinicians’ Sessions As has been previously reported in earlier issues, Dr. Harold (Hal) Abeles from Columbia University Teachers College and Dr. Randy Kohlenberg from the University of North Carolina, Greensboro, are the two College Division featured clinicians. They have both been charged with presenting sessions pertaining specifically to the work that college faculty undertake on a regular basis.

Abeles, whose major area of research is the study of applied studio behaviors, is presenting three sessions. In his sessions, he will highlight the most successful applied studio practices (this session will be repeated), factors in online course design, and gender issues stemming from student instrument choices.

Kohlenberg will be providing four sessions. In his sessions, he will delve into balancing the roles of the performing studio professor, securing funding for educational outreach initiatives, developing accurate and useful student evaluation of faculty tools, and nurturing the performance potential of students at all skill levels.

College Division Meetings There will be a slightly new format for the College Division meetings this year. On Thursday, there will be three consecutive meetings held in room

As college faculty members we have a responsibility to engage in and model the processes of continually nurturing our skills and understandings.

74 Southwestern Musician | February 2013

Degree Programs Bachelor of Arts in Music Bachelor of Music in Performance Bachelor of Music (teacher certification)

Performance Opportunities A Cappella Chorus Big Purple Marching Band Concert Band Jazz Combos Jazz Ensemble Opera Percussion Ensemble Steel Drum Band Symphony Orchestra University Chorale Wind Ensemble

Audition Dates Friday, November 16 Saturday, February 16 Friday/Saturday, March 1-2 Friday/Saturday, April 5-6

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120452-1112

CC 213, each involving a segment of the division.

The CTME Business Meeting and Reception will be in CC 213 at 1:45 P.M. Please encourage all active college student members to attend to participate in the election process.

Immediately following the CTME Business Meeting, beginning at 2:30 P.M., there will be a meeting of all CTME chapter officers and faculty sponsors.

This will be a first for this meeting. On the agenda will be a discussion of how best to enhance communication, productivity, and accountability for all CTME chapters. It is hoped that at a minimum one faculty sponsor and one chapter officer from each institution will be in attendance. Faculty and other college students interested in beginning chapters on campuses currently without active chapters are also encouraged to attend.

Finally, at 3:30 P.M., the College Division Business Meeting will begin.

At this meeting will be reports from each division committee as well as the opportunity to discuss the following questions issued at the Fall Conference:

Duke, for coordinating this important session. If you’ve never attended our poster session, you might take a moment to browse the many insightful presentations that have been made in past years.

Past research (over 30 years’ worth) is available on the TMEA website under the College Division menu by selecting Texas Music Education Research.

TI:ME Preconference The TI:ME National Music Technology Preconference offers 29 sessions beginning at 11:30 A.M. on Wednesday.

This is in addition to the numerous technology sessions that will be held Thursday through Saturday throughout our convention. For convenience, all technology related sessions will be held in three adjacent rooms: CC 202, 203, and 204 from Thursday through Saturday.

General Sessions In the bustle of convention activities it is always tempting to bypass attendance at the General Sessions. However, without fail, each of these sessions proves to be informative and inspiring. There is some-

thing organically powerful and grounding about the mass gathering of such a large collective of music education professionals. This year’s two featured speakers, Karl Paulnack and David Pogue, promise to continue the rich history of memorable keynote addresses.

The TMEA Clinic/Convention offers all of us vast, rich, and positive opportunities for meaningful professional development. These opportunities are equal regardless of the educational level of students we teach. As college faculty members we have a responsibility to engage in and model the processes of continually nurturing our skills and understandings. I invite each of you to make the most of these opportunities and take the time to invite both the new colleague who may have never attended and also the seasoned faculty member who perhaps has lapsed in their attendance to arguably the world’s greatest gathering of music educators.

Even if you haven’t preregistered, you can still register on-site in San Antonio.

See page 5 for more details and go to www.tmea.org/convention.

• How can we best connect our students to the TMEA mentoring network? Do we as a division have a larger role to play? Is this an opportunity for CTME chapters to have additional purpose?

• Does our current College Division committee structure work?

• Is the current design and role of our Division’s Region officers serving our needs? Could there be a better model of representation and responsibility for the College Division?

• Are we as college music faculty members fulfilling our professional responsibilities through membership and service?

Research Poster Session The College Division Research Poster Session will be held from 1:30 to 3:30 P.M. in the CC Parkview Foyer (on the 2nd floor across from CC 214). This new location should offer a more aesthetic environment and more visible access to the entire TMEA membership. Many thanks to Amy Simmons and members of the Research Committee, chaired by Robert Southwestern Musician | February 2013 77

THANK YOU, SCHOLARSHIP DONORS November 30, 2012â&#x20AC;&#x201C;January 4, 2013 Trevor Worff Adams Rebecca Albritton Daniel Allen Ruth Allen Christopher James Anderson Patrick Anderson Corinne Taylor Andrew Julie Arend Ormide Jamaule Armstrong Salvadore Marian Baham, Jr. Debra L. Barkey Travis K. Barney Stacy R. Barr Zane Phillip Barra Susan J. Bartos Jesse Bass Keith Bearden Sarah Beck Stetson Begin Beth Ann Behning Alisa Carole Bell Juan Benavides III Kayla Bender Mack Flynt Bibb John Bingaman Shirley Boening Dr. Rick Bogard Richard Bolden, Jr. Sarah Beth Brewer Brandee Brouwer Christie Brown Kathryn Grace Brown Nancy Patrice Brown Donna Brox Karen Bryan Jean Carroll Bryant Ronnie William Bryant Mark V. Buley Barry Byford Nancy A. Byus

Jennifer Marie Campagna Bruce Campbell Roni Carrasco Eric Carraway Lauren Michelle Carter Nora Cason Dr. Mary Ellen Cavitt Noe Cepeda Dr. Hyung Sek Chae, D.M.A. Benjamin Chasan Debra G. Chessher Jody Ann Cies Sandra Clampitt Tony Clines Robert Charles Coats Ben Cockerell Ashley Coffey Shara L. Collins Ruth Cooney Claire Anne Copeland William Bruce Copeland Patrick Corbett Elisa Carroll Crowder Sarah Currier Kathy L. Daniel Robert N. Daniel Jana Marie Davis Christopher Mark De Hertogh Dallas Michael Dees Philip Dembski Jerriald Dillard Casey Dixon Amy E Doron William P. Douglas, Sr. Marc Hall Dunbar Cary Eaves Merrilyn J. Eder Dr. Terry E. Eder Casey Edwards Elaine Edwards

78 Southwestern Musician | February 2013

Wesley A. Evans Amber Ferguson Lauren Elizabeth Fisher Richard L. Floyd Jane H. Fore Allyson Forshee Kayla Price Fowler Brian Fratto Renee Freemon Amy Frost Beth D Fry Susan J. Galentine Gershom Garcia Vonnette Garcia Elodie Jo Gasca Donald H. Gee, Jr. Jeff Gegogeine Amy Giammattei Sandi Gillette Miriam Kay Glasgow Sandra L. Glover-Messbarger Stephen Keith Goacher Raul Gomez Joshua Gonzales Maggie Gonzales Kim L Gonzalez Hollis William Gordon, Jr. Dan Green Craig E. Griffith Cassandra Grim Sharon Word Gross Robbin Guinn Phyllis L. Gurbach Rodney Haedge Jessica Hall

Robert Arthur Hanlin, Jr. Linda S. Hartzog Greg E. Haugen Lauren Heiler Glenn Herbst Jeanie Hermansen Manuel Hernandez Debra Lynn Herrera Creston Herron James A Higgs II Kay Marie Hill IV Benjamin John Hillard Arturo Hinojosa, Jr. Melissa Santacruz Hinojosa Beverly Faith Hirsch Nikesha Hopes Carol Hopkins Briana Howland Patrick Hughes Dean A. Hurta Linda W. Ice Myron W. Ice Aimee Elise Ingalls Molly Jackson Naida S. Jaggard Luanne Jay Eric Jimenez Marcus A. Johnson Tess Mirae Jones Theodore Juarez Mary D. Karah Donald W. Kearney Col. Chanda Shantel Kennie Anna Jo Knight Maribel Aguilar Kohles

Janice Halls Paul Hallsted Julie Hamil Charlie Sams Hammerle II Shari Hammons

Sara Korzekwa David Brian Kraft Kendra Kufeldt Cheri Lafferty Christopher A Lambeth

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

2013 Audition Dates Saturday, February 9 Saturday, February 23

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

Kira Landin David Lang Jennifer Michelle Lang Rod Lauderdale Licia Lee Carol Mcmullen LeGrand Jay Lester Gail G. Lewis Richard W. Lewis Abigail Joy Lockhart Linda D. Loudenback Hsin-Yi Lu Kimberly Cole Luevano, D.M.A. Sammie L. Lynn, Sr. James F. Maclaskey Dixie Marcades Robyn L. Maricle Pricilla A Marruffo Jeffrey L. Martin Maya Sevelen Mathews-Silva Marinell McAdoo Terrill A. McBee Lizabeth Grace McCabe Alan C. McClung, Ph.D. David McCutchan Wade McDonald Jaime Medina Casey Medlin Jo Ann Meeker Alesia Miller-Osborne Adam Moffett Will Moncrief Stephen Andrew Montalvo Amy J. Moore Brenda Moore Rebecca Moore Tiffany Morris-Simon Anne Morton Bill Morton Pam Moss Sheila Munn Brian Clark Murray Ben Muths Abner Nava Amber Caylee Neighbors Teresa Marie Nelson Dr. Peter Neubert

Dustin Nguyen Lori Langford Nino Brittney Nixon Nelson Nolden David Noyola Gregory Obregon John M. Odom Robbie G. Odom John S. Olsen Casey W. Oâ&#x20AC;&#x2122;Neal Kelly Lee Orr Kyle Andrew Orr Oscar Padilla Barbara Paisley Kathy Parisher Paul Parkan Bennett A. Parsons John H. Pearson Jerry Dennis Perales Jaime Perez Marjorie F. Peters Beverly Phillips Carrie Mae Pierce Nellie A. Ponikvar Jessica D. Powell Kevin Przybylski Christopher Ramos Rosendo M Ramos Ricky Reyes Alix L. Richardson Dianne Rieck Kathy S Roach Jeffrey Brian Roberson Thomas Robin Joe Robinson Sylvia Martinez Robinson Emanielli Rojas-Caez Darren Rome Paulino Rosales III Natalie Rose Val Rose Dr. Andrew Roseborrough Juli Ann Salzman Raymond Anthony Sanchez Ronnie Sanders Virginia Sandoval Deanna V. Santini

80 Southwestern Musician | February 2013

Ashley Sauceda Dr. Michael Lee Scarbrough Aric Schneller Michael D. Senter Dr. David L. Shea Wendy Dawn Starr Sheeley Jaclyn Sandra Shepherd Sharon Shimek Shannon Shipp Amara Silvany Amanda Six Dr. Tom Keumsup Song Karla Darhlene Sosa Beverly Spivey Doris Ann Stanford Lynn M. Steiniger Stefanie McKinney Stephens Jeffrey L. Stevens Marla B. Stevens Merideth L. Stevens Patrick Allen Stevenson George Strickland Stephen Stuart Lauren Ford Summa Rhonda Szoeke Kara M. Taeger Theodore Broughton Talley III Richard In Tang, Jr. Karen Denise Tanner Keith J. Thierry Richard Thomas Howard L. Thompson Kenneth Azi Thompson Mary Ann Thompson Deanna Tiller Matthew Tompkins Ronnie J. Touchstone Lee Campbell Towell Brian Towner Matthew Allen Trevino William Troiano Harold C. Turbyfill Selena Feliz Urby Rolando Omar Velazquez, Jr. Roger Vera Ernesto Villalobos, Jr. Jason Villarreal

Rudolph J. Villarreal, Sr. Nancy Joan Vines Michelle Renee Vlasek Richard F Wallace John N. Walton Jo Ann Warren Marisa Anita Warren Megan L. Weinel Elena Westbrook Amy White Martha L White Damon Lionel Whitley II Jeffrey L. Wicker Juliana Wild Lacy L. Williams Renee Elizabeth Wilson Vicki Ruth Wilson Dr. Keith Winking Daniel Witte Abby R. Wood Harvetha Davis Woodson Harlan S. Yenne III Brian Keith Youngblood Chris D. Yurasek Pamela E. Zeigler Brad Dean Zimmerman In addition, a generous contribution has been made honoring the following individuals: James Andrews Billie Lu Billett Richard Bjella Lorena Boone Abby Crawford Dr. Keith Dye Elasha and Bryan Edwards Jon Locke Kay and James Nance

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