February 2020 Southwestern Musician

FEBRUARY 2020

JOE MUÑOZ

ROBERT HORTON

BRIAN COATNEY

Contents VOLUME 88 ɵ ISSUE 7 ɵ FEBRUARY 2020

Features Attend the 2020 General Sessions . . . . . . . . . . . . . . . 14 This year’s General Sessions will be like no other. Don’t miss these opportunities to celebrate your passion for music education.

You Give Me Bricks But I Need Wings . . . . . . . . . . . . . 16 This reprint of an article written over 35 years ago is a reminder of how some educational challenges and opportunities don’t change.

[S A L LY S C H O T T]

Friday in Stars at Night . . . . . . . . . . . . . . . . . . . . . . . . . 22 Learn more about these spotlight events offered on Friday in the Stars at Night Ballroom in celebration of our association’s centennial.

14

Insights for Effective Private Instruction . . . . . . . . . . 36 Private instructors share topics specifically targeted to private lesson instructors who teach beginners to graduate-level students.

[N I C K S CA L ES , JA M ES B A R G E R , A N D L E A B AU M E R T]

A Focus on Urban & Rural Music Education . . . . . . . . 52 Our convention includes several sessions that will feature music education strategies for success in urban and rural school settings.

Columns President’s Notes . . . . . . . . . 5

Energizing Inefficient Voices . . . . . . . . . . . . . . . . . . . . 62

[J O E

M U Ñ OZ]

Directors can energize even the most inefficient voice, improving the sound of the whole choir. Learn several strategies you can employ.

[L I N D S AY M E D I N A]

Executive Director’s Notes . .10 [R O B ER T

F LOY D]

Superfood for Developing Brains . . . . . . . . . . . . . . . . . 74 Both sides of our brains need to be engaged concurrently to create the best outcomes, and music is the superfood to feed that development.

[J O K I R K]

Band Notes . . . . . . . . . . . . . 27 [J O H N

CA R R O L L]

Orchestra Notes . . . . . . . . . 44 [M IC H A EL

Updates Your Convention CPE Record & Parking at the Convention . . . . . . . . . . 2 2020 Clinic/Convention: Know Before You Go . . . . . . . . . . . . . . . . . . . . 8 Thank You, TMEA Centennial Sponsors . . . . . . . . . . . . . . . . . . . . . . . . 21

S T R I N G ER]

Vocal Notes . . . . . . . . . . . . . 58 [J E D

R AG S DA L E]

Elementary Notes. . . . . . . . 69 [A B I G A I L

H AW ES]

College Notes . . . . . . . . . . . 81

on the cover

TMEA President Joe Muñoz, Past-President Robert Horton, President-Elect Brian Coatney, and 78 other Presidents have led our association through its first 100 years.

Cover design by Ben White.

[V I C K I

BAKER]

Southwestern Musician | February 2020

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

Managing Editor: Karen Cross

kcross@tmea.org 512-452-0710, ext. 107

TMEA Executive Board President: Joe Muùoz PXQR]M#SHDUODQGLVG RUJ 3775 South Main Street, Pearland, 77581 281-997-3219 – Pearland HS

President-Elect: Brian Coatney brian.coatney@pisd.edu 2200 Independence Parkway, Plano, 75075 469-752-9396 – Plano Senior HS

Past-President: Robert Horton rhorton@conroeisd.net :HVW 'DYLV 6WUHHW &RQURH 936-709-7806 – Conroe ISD

Band Vice-President: John Carroll MRKQ FDUUROO#HFWRUFRXQW\LVG RUJ 1800 East 42nd Street, Odessa, 79762 432-553-2780 – Permian HS

Orchestra Vice-President: Michael Stringer mstringe@aisd.net :HVW $UNDQVDV /DQH $QQH[ $UOLQJWRQ 682-867-7662 – Arlington ISD

Vocal Vice-President: Jed Ragsdale MHGUDJVGDOH#WRPEDOOLVG QHW 1RUWKSRLQWH 5LGJH /DQH 7RPEDOO 281-357-3230, ext. 1106 – Memorial HS

Elementary Vice-President: Abigail Hawes DELJDLO KDZHV#FÀVG QHW 13734 Lakewood Forest Drive, Houston, 77070 281-370-4040 – Moore Elementary

Creating Your Convention CPE Record TMEA members attending our convention have numerous opportunities to receive Continuing Professional Education (CPE) hours. Follow these steps now to prepare to complete your CPE record.

1. Now: Create a personal schedule online. • Go to www.tmea.org/convention • Go to the Schedules page and click on Personal Schedule • Log in with your username and password Bonus! Save it by January 23, opt in, and your schedule will transfer to your convention app account!

2. During the convention: Make note of the sessions you attend to completion.

3. When you return home: Update your online personal schedule to confirm the sessions you attended and print your CPE form. Submit one to your school district and keep a copy for your records.

www.tmea.org/convention

College Vice-President: Vicki Baker 9%DNHU#WZX HGX 3 2 %R[ 'HQWRQ ² 7H[DV :RPDQ¡V 8QLYHUVLW\

TMEA Staff Executive Director: 5REHUW )OR\G | UĂ R\G@tmea.org Deputy Director: Frank Coachman | fcoachman@tmea.org Administrative Director: Kay Vanlandingham | kvanlandingham@tmea.org Advertising/Exhibits Manager: =DFKDU\ *HUVFK | ]JHUVFK@tmea.org Membership Manager: Susan Daugherty | susand@tmea.org Communications Manager: Karen Cross | kcross@tmea.org Financial Manager: &ULVWLQ *DIIQH\ | cgaffney@tmea.org Information Technologist: Andrew Denman | adenman@tmea.org Administrative Assistant: 5LWD (OOLQJHU | rellinger@tmea.org

70($ 2IÀFH Mailing Address: 3 2 %R[ $XVWLQ 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.

$10 Daily Convention Parking Alamodome Lot B + Free Shuttle Service Thursday–Saturday The City of San Antonio is offering attendees $10 daily parking at the Alamodome Lot B (entry by 5 p.m.). TMEA will provide free shuttle service from Lot B to the convention center. You can also use the walkway from the north side of the Alamodome under I-37 to the center.

Thursday: 7:30 A.M.–9:30 P.M. Friday: 7:30 A.M.–9:30 P.M. Saturday: 7:30 A.M.–10:00 P.M. DETAILS AT: WWW.TMEA.ORG/CONVENTION

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Southwestern Musician | February 2020

B Y

J O E

M U Ñ O Z

PRESIDENT’S NOTES

In Memoriam James Allen Moore November 26, 1938–November 19, 2019 TMEA President, 1977–1978 Kathy Fishburn June 18, 1947–January 19, 2020 TMEA President, 1990–1991

A shared passion for music February—Renew your membership and register for the convention.

February—Purchase tickets to the President’s Concert.

February 12–15—TMEA Clinic/ Convention in San Antonio.

February 13, 5:15 p.m.—TMEA Division Business Meetings.

February 14, 5:15 p.m.—TMEA Region Meetings.

March 1—Texas Music Scholar online application opens.

April/May—Attend your spring Region meeting.

April–June 1—Submit proposals online for the 2021 TMEA Clinic/ Convention.

May 1—Deadline to nominate students for a Texas Music Scholar award.

May—Membership renewal for the 2020–2021 year opens.

A

s I write this final column of my term as TMEA President, I am reminded of the many times I’ve shared with colleagues how service on our Executive Board has profoundly changed me.

The experience that started my metamorphosis was my initial Executive Board meeting on the Sunday immediately following the TMEA Clinic/Convention. Each board and staff member was so welcoming and offered to help me in any way they could. That was a comfort as I was entering something completely unknown. The sense of purpose and attention to detail was immediately evident throughout that meeting’s convention recap. Each Division Vice-President offered areas that went well and others that needed to be addressed or considered for the future. It was a clear example of how thoughtful and dedicated the Executive Board is to its purpose of providing the best possible experience for the membership. That first meeting served as a model for how to approach the duties not fully known at the time.

Seeing music educators from around the state come together to effect positive change in our association is another transformative experience. Meeting new people who have the same passion for music education and seeing them willing to give of themselves for the benefit of all members has always been inspiring. Their willingness not only to divulge their struggles but also to share

Providing quality experiences for students has always been at the foundation of what TMEA seeks to achieve.

Southwestern Musician | February 2020

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CONGRATULATIONS

JOSEPH MUÑOZ Distinguished Music Education Alumnus, 2020

Dire Di D ire rect ctor or of Band nds, Pearlan and d Hig gh Sccho oo ol

Joe Muñoz

JOIN US

F R I DAY F E B RUA RY : : P. M .

Hilton Palacio del Rio | Salon del Rey 200 South Alamo, San Antonio, TX 78205

2019 TMEA REUNION A CELEBRATION OF MUSIC EDUCATION AND OUR DISTINGUISHED ALUMNUS

Un niv i eerrsitty of Houston allumnus ((B Bach hello or o off Mus u ic, 19 993 93))

Adjudicator and clinician cllinic in nicia cia ian n JJo oe M Muño Mu Muñ uñoz ñoz bega began b egan n his his teaching t ac te ach hi hing career in 1993, joining Peaarl rlaand Hiigh Sch choo ooll as the he director of bands in 2013. Under hiis direect ctiion, the he Pea earl rlan and d High Sch chooll Ba B nd has been a Bands off Ame mericaa Regiona nall Ch Cham ampi pion o ship fin i alis ist, t qua u lified for the Univversi sitty Intersc sch holast stic ic Lea eagu guee (U ( IL)) St S atee Maarc rchiing n Band Contesst an and ha has co consis isttently ly receive ived d th the UI UILL Sw wee e psstake kes Award.

The Pear arland nd High Scho ool Win ind d Enseemb mble has as bee een a Naati t on nal Wind nd Hon norss Maark of Exxcellen encce Nat atio iona n l Co C mm mmen nded d Wi Winner e and Ban Naational Wiinneer. Thee Pea earland High Sch hooll Wiind Enssem mblee allso qu ualiffied d fo or the Texxas Music Educators Asso ociaatio on Areaa Honor Baand in 20 014.. Muño oz received his Bacheelor of Musicc frrom m th he Un niveersitty of Housston n, where he studied in nstrrumeentt ped edaggogyy an nd con ndu uctin ng with h Ed ddiee Gree een. His profe fessio onal affi filiattions ns in nclu ude Texaas Musi sic Ed Educat a orrs Asso sociation, Texas as Ban ndmaasterrs Assocciati tion, u In nte t rn nat a iona nal School Bandm dmaste ter Fr Frater ernity ty, Kappa Phi Betaa Mu Kappa Ps P i Ho H no oraryy Band d Fr Fraternity, Phi Mu Alp lph ha Sin infon nia and Tau Beta Sigma ma Hon o orrar aryy Baand Sorority (hon nor oraary me membeer).

their triumphs over those struggles, and then showing how others could adapt their approach to achieve the same positive outcomes in their own programs, is beneficial to us all.

Some of the most inspiring dialogue has come from our urban music education initiative, especially through many of our urban music education clinics. These experienced teachers have offered meaningful professional development for their peers who work in this challenging environment. Witnessing educators communicate beneficial ideas and methodologies that address their specific needs has been quite motivating. The Executive Board continues to be dedicated to expanding the depth of these urban music education offerings and finding new ways to assist music educators in any challenging situation (see page 52 for a list of urban and rural music educator sessions at our upcoming convention).

Providing quality experiences for students has always been at the foundation of what TMEA seeks to achieve. I’m proud of the work the Executive Board has done to include more students in the TMEA processes. The continued evolution of the Small School Mixed Choir audition track is a good example of the adjustments to how we administer and organize our audition process. The growth in the Small School Mixed Choir and the All-State experience for those students are a direct reflection on how members and the Executive Board can work together to enact meaningful change that moves TMEA in a more inclusive and positive direction. The Executive Board looks forward to the performances by the inaugural Invited Mariachi Ensemble and Invited Percussion Ensemble at this year’s convention. I hope you will be able to attend those performances and support these newly added groups in your convention schedule. Providing even more student opportunity at the 2021 convention, the Board looks forward to the addition of the All-State Mariachi Ensemble and the 5A and 6A Percussion Ensembles. The addition of these All-State groups was the result of several years of Executive Board discussions about how to promote and showcase quality music education in these specific areas.

Learning more about each TMEA division has also reframed my approach to service on the Executive Board. I

remember as a young director going to my first All-State Mixed Choir Concert.

I will never forget how moving that performance was and how professional the students sounded. Having an appreciation for other music educators in other disciplines should be natural. Unfortunately, many music educators let little issues over calendar conflicts or use of an auditorium get in the way of what is most important.

All music programs must be valued and supported. In that mindset, I encourage you to try something new this year at the TMEA Clinic/Convention, where we’ll be celebrating TMEA’s Centennial. Go experience a clinic or concert in a different division. Visit the College Division Research Poster Session and see the results of our members’ research. Attend an urban or rural music education clinic to discover amazing work being done in those classrooms across our state. You will also take away some strategies that can be applied to help you and your students be more successful.

As you’ve read in many of the Executive Board columns and have likely experienced, we have an amazing TMEA staff.

They work tirelessly to ensure that the broad scope of TMEA activities and programs are implemented, managed, and supported. Each does multiple jobs and brings remarkable talent to tackle their many daily tasks. While you’re at this year’s clinic/convention and centennial celebration, take a moment to look around.

Make note of the signage, registration, the varied experiences, music showcases, and exhibit hall—and that’s just the tip of the iceberg. When you see a TMEA staff member, simply take a moment to say thank you. Executive Board members sincerely

appreciate their work and counsel while we are serving. Not only do they handle their assigned duties, but they also are a resource of TMEA history and policies, giving unique insights that help the Executive Board chart the future direction for our association.

Executive Director Robert Floyd often talks about the wonderful work of the TMEA Executive Board and our Region leadership throughout the state. He is very quick to deflect credit to others. We all appreciate his extreme dedication for the past 26 years. I once shared that he often talks about the Executive Board being the captain of the TMEA ship. If the Board is the captain, then he is our rudder, keeping the ship steady and moving in the correct direction. We will always be grateful for his contributions to TMEA and how he and the staff work to protect music education and fine arts in our state.

The profound change in my perspective came through a willingness to serve.

I was encouraged by past leaders to give of myself for the greater good of our association and profession. I have always tried to pay it forward for those who inspired me.

I’m looking forward to seeing our membership in San Antonio in a few days. I hope you find things that inspire you to pick up the torch and look for ways to serve our great profession. As my presidential term ends shortly after this year’s convention, I look forward to what the future will hold for our association. I know the future leadership is passionate about music education and I cannot wait to see the great heights to which they will lead us as TMEA continues to set the foundation to promote excellence in music education for the next 100 years.

Attend the One-Day Technology Preconference Preconference registration is $50. Pay when you register online for the TMEA Clinic/Convention (before Feb. 7) or onsite at the TI:ME registration counter in the foyer of CC 214.

February 12 • Convention Center Room 214 Southwestern Musician | February 2020

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2020 TMEA Clinic/Convention February 12–15 • Henry B. González Convention Center • San Antonio

Know Before You Go REGISTRATION HOURS Wednesday: Thursday: Friday: Saturday:

1:00 p.m.–9:00 p.m.

7:30 a.m.–5:00 p.m.

7:30 a.m.–6:00 p.m.

7:30 a.m.–1:00 p.m.

REGISTRATION FEES • Active music educators: $80 • Retired music educators: $20 • College student members: $0 (included in $25 membership)

• Out-of-state attendees: $130 • Badge replacements: $10 each

Badge Pickup Location Enter from the North Lobby of the convention center through doors to Hall 1, near the main entrance that faces Market Street.

• PREPAID BADGE PICKUP: You can still register online. If your registration is paid, go to the Prepaid line (straight forward as you enter the hall). Scan your registration barcode (emailed to you the week before) or look up your record by name. Your badge will print at the kiosk. Continue forward to pick up other materials and exit.

• ONSITE REGISTRATION: If you haven’t registered when you arrive, go to the Onsite Registration line (as you enter the hall, to your left). Complete registration and payment (cash, check, or credit card) to obtain your badge.

• TECHNOLOGY PRECONFERENCE: Go directly to the second floor of the convention center (south side) to the foyer of CC 214 to get your badge. This is a separate $50 registration (no POs). Checks must be made to TI:ME (do not combine with a TMEA registration check).

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Southwestern Musician | February 2020

Payment Visa, MasterCard, Amex, Discover, personal or school check (checks will be run same day), and official, signed purchase orders for the correct amount are accepted. Split payments cannot include a credit card.

Family Members Registered attendee family member badge: $10 each, children under 12 are free (family cannot be a music educator, music minister, musician, or college music student).

Badges purchased online are provided when you pick up your convention badge. You can also purchase family badges when you complete onsite registration or later at the visitors booth.

President’s Concert Tickets This Thursday, 8 p.m. concert features the Dallas Winds presenting “Deep in the Heart of Texas.” Pick up will-call or purchase tickets ($20) Wednesday and Thursday at the Information Booth in Convention Registration during registration hours. After that, go to the Lila Cockrell Theatre Lobby.

$10 Daily Parking + Free Shuttle Thursday–Saturday, park for $10 daily at the Alamodome Lot B (entry before 5 p.m.). TMEA provides free shuttle service from Lot B. You can also use the walkway from the north side of the Alamodome under I-37 to the convention center.

Online Schedule & Convention App From www.tmea.org/2020schedule, you can create a personal schedule. This is also the first step in creating your CPE record.

To get the 2020 convention app, download Guidebook from your app store and search for TMEA 2020.

Music Scholarship Auditions January 25, February 22, March 21, March 28, Entrance Only April 18 Bachelor of Music in Performance )HJOLSVY VM 4\ZPJ ^P[O ;LHJOLY *LY[PÃ&#x201E;JH[PVU Bachelor of Arts in Music Bachelor of Arts with a Music Industry Emphasis

music.tamucc.edu Audition for the Islander Chamber Music Scholarship Program with Full Tuition Scholarships for

L

Islander W nds

ICHTENSTEIN STRING

QUARTET

ISL ANDER

BRASS QUINTET

Contact mary.thornton@tamucc.edu for details.

For more information or to schedule an audition, call 361-825-5523 or email dino.mulic@tamucc.edu

EXECUTIVE DIRECTOR’S NOTES

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Our centennial focus

W

hen the Executive Board began early discussions in the planning for TMEA’s Centennial year, there was unanimous agreement that two projects would be a part of the celebration. The first would be the production of a series of videos to tell our story about the importance of music education through a variety of voices targeted to different audiences.

The second would be the commission of a work for band, orchestra, and choir to celebrate the TMEA Centennial and to be performed during the Second General Session of the 2020 Clinic/Convention. Now that we’re just days away from our convention, I want to offer a little more detail about these two important projects.

Telling Our Story Partnering with Arrow, an Austin branding and public relations firm, we spent several months developing a guiding document that defines our target audiences, the primary messages to communicate, and the best individuals to offer their stories that deliver those messages. This document became the cornerstone for the entire project. Ultimately, the target audiences we identified were members, students, parents of students, school administrators, school

We hope you will come ready to be inspired and motivated to take advantage of all that this convention will have to offer.

10 Southwestern Musician | February 2020

February—Renew your membership and register for the convention.

February—Purchase tickets to the President’s Concert.

February 12–15—TMEA Clinic/ Convention in San Antonio.

February 13, 5:15 p.m.—TMEA Division Business Meetings.

February 14, 5:15 p.m.—TMEA Region Meetings.

March 1—Texas Music Scholar online application opens.

April/May—Attend your spring Region meeting.

April–June 1—Submit proposals online for the 2021 TMEA Clinic/ Convention.

May 1—Deadline to nominate students for a Texas Music Scholar award.

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counselors, state policy makers, and business leaders. The storytellers in our videos include a business executive, a parent, a teacher, and four students.

Arrow, TMEA staff members, and a Santa Fe film company began collaborating two years ago, and filming began in early 2019 in a studio setting and in varied schools and sites in San Antonio. With the cooperation of San Antonio, Northeast, and Northside ISD fine arts administrators and music staff, interviews were conducted and storytellers were selected to best convey our message. Ultimately, the project culminated in the production of seven high-definition videos suitable for use in a myriad of settings. After their premiere, they will be available for you to share and download.

We hope these videos will prove to be a powerful recruiting tool at the beginner level and an effective retention builder as students move to high school. These videos could be shown at booster club and elementary PTA meetings, at school board meetings before you make a presentation, at concerts between ensembles, or perhaps even at sports events. The video file quality is high enough to display on massive LED screens we now see at some of our districts’ facilities—so think big!

Each video includes the option to show Spanish subtitles (or English captions or none). Shorter teaser versions of the videos are also available and were produced with social media in mind—to quickly grab the viewers’ attention and allow a clickthrough to that person’s full video.

All videos are anchored in our It Starts With Music message.

We will premiere these videos at the convention during the First General Session on Thursday and will show them again at Friday’s Second General Session.

They will then be available on the TMEA website for your sharing and download.

Centennial Commission With this centennial being a celebration of the Texas Music Educators Association, we wanted to keep the focus on our great state as much as possible. Given that, the Executive Board reached out to composer Frank Ticheli to engage him in the commission project. As a product of Texas public schools and having taught at Trinity University in his first full-time teaching position, he eagerly accepted the challenge of writing a piece to honor and recognize

100 years of music education in Texas.

Ticheli is an American composer of orchestral, choral, chamber, and concert band works. He lives in Los Angeles, California, where he is a Professor of Composition at the University of Southern California. Several of his works are particularly notable, as they have become standards in concert band repertoire.

Ticheli has been the recipient of many awards, including the Arts and Letters Award, Goddard Lieberson Fellowship, and Charles Ives Scholarship, all from the American Academy of Arts and Letters.

The Executive Board requested a Grade 4 piece that would explore a wide range of musical expression—festive, celebratory, melodic, rhythmic, reflective, fun—a piece that could truly capture the spirit of our musical heritage. Ticheli wrote lyrics that are Texas-specific and created alternative lyrics for performance by ensembles in other states. He provided four versions of the piece: orchestra and chorus, band and chorus, chorus and piano, and band only.

On Friday morning during the Second General Session, members of the All-State Mixed Choir, Symphony Orchestra, and Symphonic Band, along with the San Antonio Children’s Chorus, will perform the commission titled Sailing the Sky. All age groups will be on stage, demonstrating how music touches the lives of students at every age. Sailing the Sky will also be performed at the beginning of the All-State Mixed Choir Concert on Saturday.

To honor TMEA’s Centennial, Ticheli also has gifted a beautiful anthem that the Executive Board hopes will become our theme song to be sung at TMEA General Sessions and in schools at every level throughout the state. It includes both twoand four-part settings and will be available free on our website after the convention.

Whether you teach at a small elementary

school or a 6A high school, we hope you will embrace this piece and share it with your students.

Amplified Centennial Branding When you arrive at the convention center, you’ll notice that we’ve upped our graphics game! Since we’ll turn 100 only once, we’re expanding on our typical convention visuals to spotlight this celebratory moment and offer multiple reminders that it starts with music.

We look forward to seeing you post your selfies and group pictures from several displays that we’ve added just for this special centennial celebration (remember to include the #TMEA100 and #itstartswithmusic tags)! If you don’t traditionally enter through the Market Street doors to the North Lobby when you come to the center, be sure you take that path at some point and check out the visuals in the North Lobby and beyond!

Also be sure you visit the Bridge Hall during your time at the convention to peruse displays recounting TMEA’s 100 years.

Get Ready!

The convention is fast-approaching, and we hope you will come ready to be inspired and motivated to take advantage of all that this convention will have to offer. As usual, you will have to make tough choices about what clinics and concerts to attend, and which companies are on your mustvisit list. It is so important, then, that you plan your agenda carefully to not miss the events that will send you home a more effective and educated teacher. And don’t forget to have fun along the way, taking advantage of the celebratory events available to you. I hope to see you soon in San Antonio!

CELEBRATING 100 YEARS Over the last 100 years we have come a long way as a profession and as an association. Our purpose started with music. Our commitment as music educators enriches our students and prepares them for any path in life they choose, because music contributes to lifelong success. As we begin our next 100 years, there is much more ahead on the journey for music educators and music education in Texas. And it starts with music.

Southwestern Musician | February 2020 13

ATTEND THE 2020 GENERAL SESSIONS

THURSDAY, 8:15 AM • LILA COCKRELL THEATRE FRIDAY, 8:15 AM • STARS AT NIGHT BALLROOM

A

s part of our centennial celebration during this 2020 TMEA Clinic/Convention, the two meetings of the general membership will depart from their typical format and focus on what brings us all together—music. Be sure you have these General Sessions on your convention schedule!

FIRST GENERAL SESSION Thursday, February 13, 8:15 a.m.

Lila Cockrell Theatre The First General Session will be in Lila Cockrell Theatre at 8:15 a.m. on Thursday. While this session will include a meeting, it will be brief, with the closing of the President-Elect election nominations on the agenda.

Directly following the quick meeting, enjoy an extraordinary production about the power of music in our lives, expressed through live performance, commentary, and video. Soloists, ensembles, and personal stories will inspire you and remind you that, indeed, it starts with music.

Can’t be at the First General Session? We know this production is going to be an amazing start to your convention experience.

If you are unable to be at this session, however, you are welcome to attend an open dress rehearsal on Wednesday at 7 p.m. in Lila Cockrell Theatre.

14 Southwestern Musician | February 2020

SECOND GENERAL SESSION Friday, February 14, 8:15 a.m.

Stars at Night Ballroom (CC 3rd Floor) If you’ve attended Second General Sessions in the past, you know to expect amazing performances by members of the combined AllState Mixed Choir, Symphony Orchestra, and Symphonic Band.

This year is no exception; however, there will be more!

At this Friday, 8:15 a.m. session in Stars at Night Ballroom (note the different location), the San Antonio Children’s Chorus will join this combined group in a premiere performance of Sailing the Sky, the work TMEA commissioned Frank Ticheli to compose in celebration of TMEA’s centennial. You can learn more about this work on page 13 of the Executive Director’s Notes.

In addition to being inspired by the performance of hundreds of Texas’s finest musicians, you’ll have the opportunity to enjoy a conversation with two of our All-State Conductors who each are products of Texas public schools: Frank Ticheli and Carl St.Clair.

This conversation will be moderated by longtime TMEA friend and champion of music education Tim Lautzenheiser. Come learn more about these amazing musicians and their perspectives on music education, and perhaps hear some great stories from their time growing up in the Lone Star State.

All-State Symphony Conductor Carl St.Clair was born in the small community of Hochheim and went to school in Yoakum, graduating from Yoakum HS. He played trumpet throughout school and his directors were Van Kirkpatrick and David Bernshausen. St.Clair attended the University of Texas before studying conducting at the University of Michigan and at Tanglewood.

St.Clair is internationally recognized for his career as a professional conductor and master teacher. He has had a continuing relationship with the USC Thornton School of Music for over 20 years.

Since the 2005–2006 season, he has been principal conductor of the USC Thornton orchestras and a faculty lecturer in conducting.

In 2012, he took on an expanded role as artistic leader and principal conductor of the USC Thornton orchestras.

This season marks his 25th year as music director of the Pacific Symphony, an organization he helped develop into the largest orchestra in the U.S. formed within the last 40 years.

From 2008 to 2010, St.Clair was general music director of the Komische Oper Berlin. Prior to his appointment in Berlin, he was general music director and chief conductor of the German National Theater and Staatskapelle in Weimar, Germany. St.Clair has also guest-conducted many orchestras throughout the U.S., including the Boston Symphony Orchestra, New York Philharmonic, Philadelphia Orchestra, and Los Angeles Philharmonic.

All-State Symphonic Band Conductor Frank Ticheli grew up in Richardson and attended Berkner HS. He played trumpet, and his high school band director was Robert Floyd (now TMEA’s Executive Director). Ticheli earned his bachelor’s degree at Southern Methodist University. After completing his master’s and doctoral degrees at the University of Michigan, he taught at Trinity University.

Since 1991, Ticheli has served on the faculty of USC’s Thornton School of Music and is currently Professor of Composition. From 1991 to 1998, Ticheli was Composer in Residence of the Pacific Symphony. His orchestral and choral works have received recognition in the United States and Europe, but he is best known for his works for concert band.

In 2018, Ticheli received the University of Michigan Alumni Society’s highest honor, the Hall of Fame Award, in recognition of his career as a composer. He was awarded national honorary membership to Phi Mu Alpha Sinfonia, “bestowed to individuals who have significantly contributed to the cause of music in America,” and the A. Austin Harding Award by the American School Band Directors Association, “given to individuals who have made exceptional contributions to the school band movement in America.”

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Southwestern Musician | February 2020 15

You Give Me Bricks But I Need Wings: A CHILD’S R IGHT TO A BA L A NCED EDUC ATION Editor’s Note: In reviewing the documents of our association’s history, it’s often clear that today’s educators face similar challenges and opportunities of those who came before. While the way we deliver instruction

might change, the commitment to quality instruction and opportunities for all schoolchildren is a lasting priority. This 1984 article written by then TMEA President Sally Schott is a great example. Her assertions

from over 35 years ago still ring true today.

The image below is that issue’s magazine cover, custom designed by Cheryl Evans, art educator and Past-President of Texas Art Education Association.

In this time of an unprecedented information blitz, no one can hope to learn everything about any one subject. One simply must develop the ability to master the knowledge and skills necessary to succeed at one’s chosen vocation. Many

of today’s jobs will be obsolete tomorrow.

Those who are flexible, well-adjusted, and highly motivated will be equal to the challenge of updating their job skills throughout their lifetimes.

A performing group is a microcosm of

by Sally Schott

A

s the effects of recent education legislation become more apparent, how an individual child’s educational experiences may be changed is increasingly evident. Good cases can be made for praising some aspects of the reforms while questioning others, primarily side effects of the major thrust.

A simplistic view has its drawbacks, for the situation is complex. Previous practices were not uniformly harmful nor are the mandated changes creating results which are 100% positive. The absolute necessity to maintain balance in a child’s education is being reaffirmed.

If one were to reduce the goals of the public schools to the most concise form possible, would it not be to produce productive, responsible adults capable of functioning in and contributing to a democratic society? Experiences in Fine Arts contribute to the realization of these goals in unique and powerful ways. Fine arts are an essential ingredient of a balanced educational diet.

Meeting the Needs of the Child Today’s technological explosion mandates that students attain mastery of a body of factual knowledge. Attainment of cognitive skills is receiving a great deal of attention, and justifiably so. But encouraging mastery of a specific body of knowledge alone will not equip today’s student for tomorrow’s world. Students must: • Learn how to learn • Learn how to communicate • Learn how to accept responsibility • Learn how to respond to authority • Learn how to organize their desires of the present and dreams of the future in order to plot and follow a master plan for their lives 16 Southwestern Musician | February 2020

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society. In addition to well-documented skills related to music reading, selfexpression, self-discipline, and concentration, performers become interdependent.

There is no more important skill required in a democratic society than that of sharing common goals with others and working together to achieve them. A child needs to acquire the skills and knowledge to function in a technological society, but he still must learn to interact socially and to deal with others with ease and effectiveness in a work situation.

As the family unit breaks down and group interaction in the home becomes more rare in our microchip society, children must find another source to develop the ability to communicate with others. To limit their school experiences to highly structured, individualized learning experiences is to create an imbalance that denies them the opportunities to develop skills crucial to their future well-being.

An educational system which focuses on individual achievement alone, reserving group activities for the academically elite, prohibits two very important groups from benefiting from this vital type of experience.

The underachiever’s problems cannot simply be labeled laziness or lack of ability. Immaturity, instability in the home, social maladjustment, and peer pressure are but a few of the myriad of contributing factors. Offering tutorials to students in academic danger treats the symptoms of their problem but does not always get at the underlying causes. To deny an academically weak student the opportunity to participate in the culminating experiences of a performance class—the performance itself—is to deny him an opportunity for personal growth which could very well be an effective antidote for his scholastic problems. The economically deprived have a special need for the nurturing that can be provided by teachers and participants in performing groups. The shared experiences of the group in performance create binding ties. Children who lack strong, stable family backing look to support groups like this as a source of strength.

To impose punitive measures on children who are struggling to find themselves is a step backward. Depriving them of an experience which has great potential to help them help themselves to achieve at an acceptable level and develop a positive self-concept is counterproductive.

There is no more important skill required in a democratic society than that of sharing common goals with others and working together to achieve them.

People with God-given talents in the fine arts have the capacity to make unique contributions to society—if their talents are nurtured. Under present conditions, because of the crowded schedule of required classes, many youngsters may never discover their special abilities.

This priceless resource will go untapped.

Children need the freedom to explore elective areas and find where their interests and abilities lie. Deprive a child of this opportunity to discover and develop his talents, and you have robbed society of a priceless source of enrichment. This is reality—as real as any test score.

Teachers of fine arts classes also have a responsibility to maintain balance.

Meeting the emotional and social needs of the members of a performing group is intertwined with developing their musicianship. The goals for each group must be based on their state of development so that they are challenged to learn, grow, and thrive through a series of meaningful performance experiences. Schedules that demand excessive expenditures of time and energy in an attempt to reach goals which

are unrealistic for the group either because of the difficulty of literature, frequency of performance, or degree of perfection expected cannot be regarded as a part of a balanced education for all students.

A truly balanced curriculum will not devalue performance experiences. A balanced curriculum will allow all children the opportunity to perform, as stated in the Essential Elements [the state standards that preceded the TEKS]. The validity of this type of learning is indisputable, and not to be confused with optional activities which are correctly regarded as extracurricular.

In his book With Your Own Two Hands: Self-Discovery Through Music, Seymour Bernstein says: “Performance . . . generates a vital energy that converts irresponsible behavior into a consideration for others, doubt into confidence, and weakness into strength. A successful performance is the pinnacle of achievement in musical development. In one sense, performing entails a synthesis of thought, feeling and physical movements; but in a broader sense, it signifies a supreme act of artistic giving.”

Southwestern Musician | February 2020 19

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FRIDAY IN

Stars at Night U.S. ARMY HERALD TRUMPETS—10:00 AM U.S. ĨīÐĮðÌÐĊĴȸĮ ďŨÆð­ă å­Ċå­īÐ ÐĊĮÐĉÅăÐ

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hroughout Friday of the 2020 Clinic/Convention, TMEA is presenting special sessions in the Stars at Night Ballroom. These spotlight events are offered in celebration of our association’s centennial and will undoubtedly become a highlight of your convention experience. With our convention only days away, be sure to make time in your Friday schedule to get to the Stars at Night Ballroom (on the north side of the convention center on the third floor).

U.S. Army Herald Trumpets 10:00 AM, Stars at Night Ballroom Through live performance, narration, and multimedia, the U.S. Army Herald Trumpets will explore the history of the ensemble, demonstrating fanfares and concert pieces and showcasing the daily activities of the ensemble, including an official White House Arrival ceremony and their appearance at Super Bowl XXIX. Officially founded in 1959, the U.S. Army Herald Trumpets was formed to add splendor to official military ceremonies. Patterned after traditional British fanfare trumpet ensembles, the group now serves as the official fanfare ensemble to the president of the United States. They can often be seen lining the South Portico of the White House as the president welcomes foreign ambassadors, royalty, and visiting heads of state. A performing element of the United States Army Band “Pershing’s Own,” the ensemble has performed for countless events of national and international significance.

22 Southwestern Musician | February 2020

The group’s first official performance welcomed Her Majesty Queen Elizabeth II to Chicago for the opening of the St. Lawrence Seaway, and in the ensuing years the Herald Trumpets have performed for an illustrious array of presidents, prime ministers, and royalty at the White House and abroad.

Four types of trumpets combine to create a family encompassing the full range of musical voices. They include the E-flat soprano, B-flat mezzo-soprano or melody, B-flat tenor, and B-flat or G bass trumpets. Trumpet players play the E-flat soprano and B-flat melody trumpets while the tenor trumpets are played by trombone players. Euphonium players play the bass trumpets.

In addition to the family of trumpets, there are two rope drums that provide the rolls used for timing the placement of fanfares.

Larry Livingston—Educator, Conductor, Speaker 11:30 AM, Stars at Night Ballroom Having conducted eight TMEA All-State Ensembles and presented multiple keynote addresses, Larry Livingston is a familiar face at our convention. This year, Livingston will work directly with orchestra teachers in this hands-on setting to improve their conducting skills. He will focus on a simple mantra: You don’t have to be a good conductor to be a good educator, but if you conduct better, your orchestra will play better!

Currently the Chair of Conducting at the USC Thornton School of Music, Livingston has led the Houston Symphony, the Los Angeles Philharmonic Green Umbrellas Series, the American Youth

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Symphony Orchestra, the Young Musicians Foundation Orchestra, the USC Thornton Chamber and Symphony Orchestras in Los Angeles, and the USC Thornton Contemporary Music Ensemble in Berlin, and he served on the jury for the renowned Besancon International Conducting Competition in Besancon, France.

Rather than quote media reports about Livingston’s influence, enjoy what these 2016 TMEA All-State Symphony members said about their conductor and how his instruction would continue to impact their lives: Larry Livingston taught many things, mostly about love for all, a departure from ignorance, and living life to the fullest. In all of his teachings, music was a commonality. His passion for music has inspired my passion, and I will work hard to continue playing music for the rest of my life. —Matthew Frangos The most important thing, in music as well as every area of life, is kindness and the recognition and acceptance of all humanity. —Macklyn Hutchison Mandy Harvey—Singer, Songwriter 1:00 PM, Stars at Night Ballroom In her session “Hidden Challenges: Exploring Music Without Hearing,” Mandy Harvey will share her story and offer educators inspiration for teaching students with disabilities and helping them overcome their fears.

An award-winning singer, songwriter, and inspirational speaker, Harvey lost her residual hearing at the age of 18 while

MANDY HARVEY — 1:00 PM ĮðĊæÐīș ĮďĊæœīðĴÐīș ĮĨЭāÐī

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she was majoring in music education at Colorado State University, studying to become a choir director.

After leaving the university in 2007, she suffered from depression and stopped making music, but just a year later, Harvey began singing again, and by 2014 she had recorded three albums.

Harvey tours the world performing her original music and presenting her inspirational story of never giving up. She became well-known during her time as a finalist on the 12th season of America’s Got Talent. The same year as her AGT appearance, she published a memoir with coauthor Mark Atteberry, Sensing the Rhythm: Finding My Voice in a World Without Sound.

In a September 2017 interview with NPR, Harvey said, “I don’t find it to be really a disability. It’s just I do things differently and I want people to appreciate music for what it is, and not because of a story. I’m not a story; I’m a person, and my passion is music. And I want your passion to be my music—so, judge me on my music.”

In addition to her 1 p.m. session in the Stars at Night Ballroom, Harvey will present “Facing Your Fears: One Small Step at a Time,” as the keynote address for members of Texas Future Music Educators during their 4 p.m. meeting.

Septura Brass 2:30 PM, Stars at Night Ballroom Experience an extraordinary performance by London’s leading brass players who hold principal positions in the London Symphony, Philharmonia, Royal Philharmonic, City of Southwestern Musician | February 2020 23

Birmingham Symphony, Basel Symphony and Aurora orchestras. Septura members teach at the Royal Academy of Music and Royal College of Music, in London, and the Birmingham Conservatoire.

Currently Ensemble in Residence at the Royal Academy of Music, London, Septura is recording a series of 10 discs for Naxos Records, each focused on a particular period, genre, and set of composers, creating a “counterfactual history” of brass chamber music.

Weaving an ever-increasing repertoire into captivating live events, Septura is gaining a reputation for engaging audiences with innovative and imaginative programming. In 2018–2019 the group performed at festivals and venues around

the UK and Europe, as well as touring to New Zealand and Japan. Highlights of the 2019–2020 season will include a UK Christmas tour, a second tour across the U.S., and Septura’s debut at London’s Wigmore Hall.

Susan Graham—Professional Mezzo-Soprano 4:00 PM, Stars at Night Ballroom Enjoy this conversation with renowned mezzo-soprano Susan Graham, a familiar face at New York’s Metropolitan Opera who also maintains a strong international presence. She won a Grammy award for her collection of Ives songs and has been recognized throughout her career as one of the foremost exponents of French vocal

Explore the Exhibit Hall Thursday: 9:00 a.m. – 5:00 p.m.

Friday: 10:00 a.m. – 6:00 p.m.

Saturday: 9:00 a.m. – 1:00 p.m.

Enjoy the best opportunity for hands-on comparison of products and make connections with representatives from all aspects of the music industry.

music. She was awarded the French government’s prestigious “Chevalier de la Legion d’Honneur” for her popularity as a performer in France and her commitment to French music.

Raised in Midland, Graham is a former TMEA All-State Mixed Choir member and graduate of Texas Tech University and the Manhattan School of Music. She made her New York Metropolitan Opera debut in 1991 and her international debut in 1994 at London’s Covent Gardens. The New York Times called her “an artist to treasure.”

Within a few years, she rose to international stardom. She sang leading roles from Baroque to Classical to contemporary operas in the world’s greatest opera houses. She appeared with the world’s leading conductors, orchestras, and performers and remains in great demand.

In 2004, she was named Musical America’s Vocalist of the Year.

Gramophone magazine named her “America’s favorite mezzo.” Her hometown of Midland celebrates an annual “Susan Graham Day,” and Texas Tech named her a Distinguished Alumna.

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24 Southwestern Musician | February 2020

ONLINE REGISTRATION OPENS FEBRUARY 3 Www.longhornmusiccamp.org

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BAND NOTES

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In Memoriam Robert L. Grace July 9, 1940–September 25, 2019

It takes a community February—Renew your membership and register for the convention.

February—Purchase tickets to the President’s Concert.

February 12–15—TMEA Clinic/ Convention in San Antonio.

February 13, 5:15 p.m.—Band Division Business Meeting.

February 14, 5:15 p.m.—TMEA Region Meetings.

March 1—Honor Band entry deadline for classes 1C, 2C, 1A/2A, 4A, 6A. March 1—Texas Music Scholar online application opens.

April/May—Attend your spring Region meeting.

April–June 1—Submit proposals online for the 2021 TMEA Clinic/ Convention.

May 1—Deadline to nominate students for a Texas Music Scholar award.

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s I write my last column as TMEA Band Division Vice-President, I do so with a more acute awareness of the tremendous members we have in this division. We have so many stellar teachers. These are true ladies and gentlemen, younger and older, who are so willing to go those extra miles for their students. I have seen many examples of teachers who are doing what they do for no other reason than for the betterment of their students, musically and otherwise. I have become aware of instructors of whom I had little previous knowledge, and have come to realize that you, the membership, are the true leaders of this division. It has been my honor to serve you.

We will soon be traveling to San Antonio for our annual TMEA Clinic/ Convention. Though this is not the 100th convention, it is the centennial birthday of our great association. Personally, I feel fortunate to be actively involved during our centennial celebration.

This clinic/convention will be the result of many hours of work by Board members, TMEA staff, and a great number of volunteers. The quality we experience is possible only through the dedication that each of these individuals has for our music students in Texas.

The TMEA staff members in Austin are extremely dedicated to their passion

I have been touched by the love of music and of teaching that you have demonstrated. I have been inspired by you, and I am grateful to you.

Southwestern Musician | February 2020 27

2020 Scholarship Auditions January 25 • February 22 • February 29 • March 21

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To schedule an audition or for more information, contact: 361-593-2803 Email: Paul.Hageman@tamuk.edu or visit www.tamuk.edu/music

for making our association the most it can be. I could not begin to say enough good about them. If you see any of them in San Antonio, please tell them they are appreciated.

Please allow me to thank the many members who have volunteered to make this convention a great experience for the students and members in attendance.

Our Region and Area Chairs are invaluable individuals who make our division operate efficiently. These are women and men who devote their time to the business of the local Regions and Areas while holding down their own full-time jobs. Our Region activities, our Honor Band activities, and many other activities are operated with the high integrity and wisdom of our local leaders. Thanks go to these individuals.

2020 President’s Concert Thursday, Feb. 13 • 8 PM Lila Cockrell Theatre

Additionally, there are many other examples of people helping. Since I cannot begin to mention each of the different types of jobs involved, I’d better not attempt to do so. I would regretfully leave out too many. However, I will say that we all benefit from the work of so many people who do not get adequate recognition.

I have been touched by the love of music and of teaching that you have demonstrated. I have been inspired by you, and I am grateful to you.

TMEA Clinic/Convention Updates The annual Band Division Business Meeting is Thursday, February 13, at 5:15 p.m. in the Stars at Night Ballroom.

This meeting is important to the success of the Band Division. Election of the next Band Division Vice-President will take place. Additionally, we will enjoy a keynote address by our TMEA Featured Clinician Travis Cross. Also, Brad Kent, Director of UIL Music Activities, will provide some important UIL information.

If you haven’t already registered, you can continue to do so online. By registering online before you arrive at the convention center, you can go through a more expedited line to obtain your badge and convention materials. The convention app is also available, so be sure to download Guidebook to your device and get the TMEA 2020 app for your use during the event.

Invited HS Percussion Ensemble The TMEA Band Division is pleased to announce the first TMEA Invited

Percussion Ensemble to perform for our membership. Please read the following about this ensemble performing in this new initiative and make plans to attend this outstanding group’s performance.

Marcus HS Percussion Program, Lewisville ISD The Marcus HS percussion program under the direction of Kennan Wylie has received national acclaim. Previous awards and achievements include performances at the TMEA Clinic/Convention, selection as Percussive Arts Society International “Call for Tapes” recipients, and invitations to perform at the Midwest Clinic Percussion Ensemble Concert.

The group has performed with various guest artists, including Dave Weckl, Gregg Bissonnette, Ignacio Berrora, Alex Acuna, Dave Samuels, Janis Potter, Joel Rosenblatt, Simon Phillips, Michael Burritt, and Shania Twain.

The Marcus marching program has won eleven national championship titles at the PASIC marching drumline competition. The percussion program includes the chamber ensemble, the steel band, the Afro-Brazilian ensemble, large percussion orchestra, and the marching program.

The Marcus HS percussion program has become one of the premier percussion programs in the country. The school district, Marcus HS Band, and percussion students and their parents each contribute to this success. The whatever it takes work ethic of the parents is as exemplary as it is of the percussion students.

The concert will feature works by Texas composers and a performance by trumpet soloist Dr. Brian Shaw.

Purchase $20 general admission tickets and pick up will-call tickets at the Information Booth in convention registration during registration hours. As of 7 p.m. on Thursday, tickets will be available in the Lila Cockrell Theatre hallway.

www.tmea.org/ presidentsconcert

Marcus HS Percussion Program Southwestern Musician | February 2020 29

PROUD EXHIBITOR AT 2020 TMEA

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Invited Jazz Ensembles Additionally, the Band Division is proud to invite a university, high school, and middle school jazz ensemble to perform for the membership. Please read about these very talented students and plan on attending their performances.

(Images on page 32.)

Texas A&M University-Kingsville Jazz Band I Under the direction of Paul Hagerman, the Texas A&M University-Kingsville Jazz Band I is the premier performing ensemble within the Jazz Studies Program at Texas A&M University-Kingsville. The university jazz program consists of Jazz Bands I, II, III, IV, Latin Jazz Ensemble, and Jazz Combos I and II. Jazz Band I has performed at the Texas A&M-Kingsville Jazz Festival (now in its 53rd year), TMEA Clinic/Convention, UT Longhorn Jazz Festival, Fiesta Jazz Festival, Texas Jazz Festival, RioFest Jazz Festival, University of Northern Colorado/ Greeley Jazz Festival, and the Mobile Jazz Festival.

In recent years, Jazz Band I has performed with many jazz artists such as Jon Faddis, Arturo Sandoval, Slide Hampton, Louie Bellson, Bobby Shew, Conrad Herwig, Peter Erskine, Ernie Watts, Ed Shaughnessy, Bob Mintzer, Wayne Bergeron, Maynard Ferguson, Jeff Hamilton Trio, Byron Stripling, “Tain” Watts, Gordon Goodwin, Eric Marienthal, Michael Dease, Bernie Dresel, and Doc Severinsen.

In 2004 and 2010 respectively, Jazz Band I won the DownBeat Magazine awards for “Best College Big Band” and “Outstanding Performance” in the Annual Student Music Awards.

Performing with Jazz Band I for this concert will be jazz trombonist Marshall Gilkes.

Ensemble focuses on the study and performance of varying styles of music and improvisation. The program works to preserve the authenticity of classic jazz styles while also exploring and performing modern works and compositions of multiple genres. The ensemble consists of musicians from all grade levels. Many Chap Jazz graduates go on to pursue careers in music.

The Westlake Jazz Ensemble is under the direction of Jana Robertson.

Vela MS Jazz I, Harlingen CISD Vela MS opened in the Fall of 2005 as part of Harlingen CISD. Located in the Lower Rio Grande Valley, Harlingen CISD seeks to provide educational excellence for all students. In September 2019, the Texas Association of School Administrators named the Harlingen CISD Board of Trustees the 2019 Outstanding School Board.

Premiering in 2014, Vela Jazz I, under the leadership of Erika Uribe, established itself as an award-winning ensemble.

Consisting of seventh and eighth graders, all Vela Jazz I students are members of the Vela Honors Band.

Vela Jazz I has received consistent superior ratings and numerous outstanding soloist awards. The group has been named the middle school division champion at the Texas A&M University-Kingsville Jazz Festival, McAllen Jazz Festival, and the RGV Jazz Festival.

The school is named after the late Honorable Moises V. Vela. Vela Jazz I honors Judge Vela and wife Mary Jo’s legacy of commitment to community involvement by performing at community activities.

Vela Jazz I welcomes special guest Wycliffe Gordon for this performance.

Honor Band Update The Honor Band entry system will be open for entries on February 1, and the entry deadline is March 1. This year’s Honor Band process will select 1C, 2C, 1A/2A (combined), 4A, and 6A Honor Bands to perform at the 2021 TMEA Clinic/ Convention. Please go to www.tmea.org/ honorband for more information.

I look forward to seeing you in San Antonio in a few days and I hope you have safe travels. And remember, it starts with music.

Westlake HS Jazz Band, Eanes ISD Westlake HS is the one high school in the Eanes ISD just west of downtown Austin. Eanes ISD offers exceptional fine arts programs at all grade levels and campuses. The Westlake feeder system consists of two middle schools and six elementary schools. Westlake HS has a rich tradition of jazz education. The Westlake Jazz

Southwestern Musician | February 2020 31

Texas A&Mâ&#x20AC;&#x201C;Kingsvile Jazz Band I

Westlake HS Jazz Band

Vela MS Jazz I

32 Southwestern Musician | February 2020

Summer 2020 Graduate Studies in Music Education Intensive Music Education Courses as Brief as Two Weeks (plus online components) June 1 - July 6, 2020 Introduction to Applications in Music Technology: MUSI 5342 • Dr. Keith Dye (O) Advanced Applications of Technology in Music Education: MUSI 5343 • Dr. Keith Dye (O) Classroom & Rehearsal Behavior Management: MUED 5344 • Dr. Janice Killian (O) Topics in Orchestral Music Education: Rehearsal Strategies for the MS and HS Orchestra: MUED 5327 • Dr. Blair Williams (O) June 3 - June 27, 2020 Applied Choral Music Literature: MUAP 5302 • Dr. Alan Zabriskie • 1pm-3pm (L) Conducting Techniques and Analysis II: MUAP 5307 • Dr. Alan Zabriskie • 1pm-3pm (L) Vocal Ensemble: MUEN 5101 • Dr. Carolyn Cruse • 6pm-8pm Tuesdays and Thursdays only (L) June 1 - 12, 2020 Teaching Music in Urban Settings: Meeting the Needs of Culturally Diverse Learners: MUED 5344 • Dr. Jacqueline Henninger • 8am-12pm (L,V) Styles in Wind Literature of the 19th and 20th Centuries: MUTH 5305 • Dr. Peter Martens • 8am-12pm (L,V) Foundations of Music Education: MUED 5340 • Dr. Jacqueline Henninger • 1pm-5pm (L, V) Teaching Musicianship: Sight-Singing, Fundamentals, and Aural Skills in the Choral Rehearsal: MUED 5325 • Dr. Carolyn Cruse • 1pm-5pm (L,V) June 15 - 26, 2020 West Texas Kodály Initiative Levels 1-4: Partnership with Lubbock ISD • Contact Susan.Brumfield@ttu.edu for details (L) Band Conducting Methods: MUAP 5310 • Dr. Eric Allen • 8am-12pm (L) Upper Strings Methods for the String Educator: MUED 5344 • Dr. Blair Williams • 1pm-5pm (L) Graduate Theory Review with AP Primer: MUTH 5300 • Dr. Peter Fischer • 1pm-5pm (L) Tests & Measurements: MUED 5333 • Dr. Janice Killian • 1pm-5pm (L,V) July 6 - July 10, 2020 Choral Music Experience (CME): MUED 5344 • Dr. Carolyn Cruse • Contact Dr. Cruse for details: carolyn.cruse@ttu.edu • 8am-6pm (L) July 7 - August 7, 2020 Graduate Music History Review: MUHL 5300 • Dr. Stacey Jocoy (O) Music for Students with Exceptionalities: MUSI 5306 • Dr. Janice Killian (O) Learning & Music: MUED 5332 • Dr. Keith Dye (O) O = online • L = live • V = video conference TTU Summer-Only Options Master’s in Music Education • Master’s in Music Education (Distance) • MM in Choral Conducting

For more information please contact: Dr. Peter Martens Associate Director of Graduate Studies peter.martens@ttu.edu Dr. Janice Killian Chair of Music Education janice.killian@ttu.edu Kimberly Calvert-Gibson School of Music Graduate Admissions kimberly.calvert@ttu.edu

Insights for Effective Private Instruction

By Nick Scales, James Barger, and Lea Baumert

P

rivate instruction can be the difference-maker in a student’s musical development, yet we often don’t focus on this area of a complete music education, and private lesson instructors don’t often experience the same professional development opportunities as their ensemble director colleagues. In response to that reality, we’ve combined our varied levels of experience as private instructors to offer commentary on a myriad of topics specifically targeted to private lesson instructors—for those who teach beginners to those running graduatelevel studios. Just as each student we teach is unique, so is every teaching position. Hopefully you can gain some ideas from the following as you continue as a private instructor or think about starting a career as one.

Running a Business In getting started, it is critical to acknowledge that your studio is a business and you must run it as such. Marketing is important, so you need to know your product and your target demographic well. Making good connections with teachers and parents is important. If you’re not established in the area, go to as many schools as you can and offer to teach sectionals and play for students to pique their interest in taking lessons.

One potentially challenging detail in running this business is understanding the tax laws, business expenses, etc. Some teachers are gifted at navigating the red tape and handle their tax filings well, but if that’s not you, seek out a good accountant who can remind you of the items you could be deducting, records you

36 Southwestern Musician | February 2020

should be keeping, and much more.

Health and retirement benefits can be a hurdle, but with good business planning, these can be managed. One important item many private teachers don’t consider is liability coverage, especially with home studios but also in the schools. There are options available to private teachers (including the liability insurance available for purchase by TMEA members). A regular homeowners policy likely doesn’t cover issues that arise while running a business from the home. On a related note, be sure to know your local zoning laws or neighborhood association rules to be sure teaching from home is allowed.

Get Organized It’s most efficient to plan the day or days when you will teach students on each campus, minimizing travel time between schools.

Understand this schedule will frequently change to accommodate your students’ extracurricular activities, school holidays, illness, and changes in your schedule.

Record-keeping is imperative. Lesson logs are a great way to track attendance, payments, and even student progress, depending on how detailed you want to be. A typical lesson log will contain a student’s name, lesson dates, attendance, and payment indicators.

Districts often have lesson logs available for private lesson staff.

If not, keep yours in a notebook, spreadsheet, or online file. It is important to keep attendance and payment records so you can create accurate invoices and verify information with parents and directors when necessary. Invoicing isn’t always necessary, but it

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year). Students can post questions or videos for the group’s feedback. Post links to resources and of videos of you performing an excerpt they are studying to help them master a concept on their time.

is helpful when you teach a larger group or accept monthly payments.

Utilize Communications Tools Your daily operations can be much simpler when you use the right tools. They can help reduce confusion and lead to more efficient use of your students’ time and yours. Consider these ideas:

• Set up a Google Drive folder accessible only by your private students. Within it, create a folder for each student.

You can quickly share a PDF or audio recording you want the student to print or study. You can also utilize Google Docs to share lesson notes with them—this results in an overview of their weekly work. Students can review these notes to see their progress during the year, and it can help keep them on task in their daily practice.

• Email a weekly newsletter each Monday morning. With this consistent schedule, students know they will have the information they need for upcoming events, schedule changes, career opportunities, or other items of interest. Include something motivational or inspiring—a quote, an inspiring performance, a new TED talk or podcast episode, etc.

• Use communications apps like Remind in addition to email. You can text students as a group or individually without offering your personal phone number.

Coordinating with Ensemble Directors From the start, reach out to the school ensemble directors and build relationships, regardless of whether you teach their students. Learn what rhythm systems they teach and their perspective on the instruments you teach. Even if you dis-

• Create a private Facebook group open via invitation only to current students (you can update each semester or

et t ar u Q String Assistantship at

agree with aspects of their teaching, it is best to determine how you can help. If not, your students will get caught in the middle of your disagreements—no one wins in that scenario.

Ensemble directors should also communicate effectively with private teachers.

If you are fortunate to hire staff private teachers, build an interview list of things you are looking for, knowing you may need to guide some who are new to that role. Rather than dictating lesson objectives, though, ensemble directors can look to private teachers as a thermometer for their own teaching. The private instructor can notice a pedagogical issue or might have a different way of teaching something that would be valuable to the director.

Again, when disagreements between private teachers and ensemble directors are carried out through their students, no one wins. Clear and consistent communication will prevent the undermining of either teacher’s work. Ensemble directors could also ask private instructors to run sectionals, offer master classes, and more.

A frequently overlooked reality is that private teachers are often the first to notice

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Application Deadline for August 2020 appointment: SATURDAY, MARCH 21, 2020 For more information, please contact: Dr. Javier Pinell Professor of Violin – Coordinator of String Studies Sam Houston State University javierpinell@shsu.edu (936) 294-1380 1751 Avenue I, Huntsville, TX 77340 Phone: 936-294-1360 www.shsu.edu/music

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Duties • Weekly rehearsals as a string quartet • Event performances • Assisting studio professors/ orchestra conductor Opportunities • Leadership positions in SHSU performances • Weekly coachings with music faculty

Southwestern Musician | February 2020 39

PERFORMANCE PA S S I O N PRIDE

2020 ADMISSION & SCHOLARSHIP AUDITION DATES: FEBRUARY 22 MARCH 14 MARCH 21 (INSTRUMENTAL ONLY)

DEPARTMENT OF MUSIC BACHELOR’S AND MASTER’S DEGREES IN MUSIC EMPHASIZING MUSIC EDUCATION OR PERFORMANCE

@TAMUCMusic

| @TAMUCBands @TAMUCChoirs

APRIL 4 (VOCAL ONLY)

Auditions are required of all entering and transferring music majors.

Additional dates upon request.

tamuc.edu/music 903-886-5303

emotional issues with their students. Given that, private teachers, especially those working at schools, should understand federal reporting laws and know their responsibilities should any kind of emotional or legal issue arise. Also be sure to follow your school district’s reporting policies as well.

Instructional Strategies You guide your students to success by giving them the tools they need to teach themselves. Students can learn anything you can teach them. Teach to all facets of music to create a more immersive experience. Teach morsels of theory and history to add context and deeper understanding to the music they are learning. Introduce new terminology as it becomes relevant.

As with all lessons, the first one needs structure. The talking-to-playing ratio will be disproportionate in this first lesson. At the beginning, introduce yourself by sharing some personal information, then ask the student about themselves outside their music life. Showing interest in the student as a person cultivates a positive relationship and fosters trust. After introductions, discuss the goals and expectations you have for the student, and ask them what their goals and expectations are. If you have a private lessons contract, this would be the time to go over that with your student. These expectations can range from attitude, to lesson material, to specific issues that need to be addressed concerning the student’s playing.

Take a few minutes to examine their instrument. Make sure it is functioning well and that the student knows how to assemble and hold it properly. The next step is to simply follow your method.

These introductory steps help establish expectations and your teaching rhythm before jumping right into the latest audition music.

Instruction at Every Level As you journey through the phases of beginner, intermediate, and advanced students, consider the following ideas associated with each level of development: Beginners Fundamentals: We can’t skip over the fundamentals because they are boring, but rather we must creatively bolster them with fun approaches. Students must be intrinsically motivated to learn and practice them.

From the beginning, we must insist on proper posture. At all levels posture can often address many of a musician’s issues.

Tension takes many forms and is usually rooted in basic posture issues.

Counting System: Rather than teaching by rote, students will excel when they understand rhythmic concepts and can use a counting system that aligns with their classroom instruction to rehearse rhythms and problem-solve.

Technique: Technique should be introduced on two levels—physically through

patterned motor memory and verbally in discussions. Students watch you and will attempt to emulate you, so be sure to exemplify great hand position, posture, air support, tone production, and more.

Repertoire: Beginners can begin learning about the standard composers and repertoire for their instruments at this age. As a seventh grader, I learned a simple solo

by Jacques Ibert. This then led me to his more substantial works. Encourage your students to explore music both inside and outside of their instrument or genre.

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Your students possess both skill and passion. They thrive in an environment of high expectations and even higher commitment to artistic and personal growth. The Sarofim School of Fine Arts offers these students a tailored, hands-on approach, with award-winning faculty and a student-teacher ratio of 6:1.

S C H O L A R S H I P AU D I T I O N DAT E S

Fall 2019: One-on-One Auditions Spring 2020: Jan. 25 & Feb. 22, 2020 (Majors & Non-Majors) April 5, 2020 (Non-Majors Only)

southwestern.edu/music

Southwestern Musician | February 2020 41

The University of Texas at San Antonio

SUMMER 2020

Department of Music

MUSIC.UTSA.EDU

Intermediate Fundamentals never stop being cool.

At this level, allow students to take part in their own repertoire decisions. Perhaps play through appropriate solos or listen to recordings in their lesson and allow them to take ownership of their own developing repertoire. This is also the time to refine technique, for example, with specific articulation or vibrato production. Work on sightreading by playing duets with your students and encouraging them to do the same. Encourage your intermediate students to attend summer camps. You could organize summer chamber groups to help them continue their progress.

Advanced Yes, fundamentals are still cool! Think extension and expansion. Cover the full range and extended range of the instrument and introduce extended techniques.

Help these students with effective practice methods so they can solve their own technical issues and explore ways to manage performance anxiety. Encourage your advanced students to record themselves daily during their practice and reflect on their progress and identify areas to improve. Continue the sightreading emphasis with various musical styles—for instance, funk etudes are a great way to master syncopated rhythms!

Qualities of an Effective Private Instructor The profile of an effective teacher is one who possesses strong critical-thinking skills, can quickly adjust their teaching, and who stimulates intellectual curiosity.

Private instructors are patient, they like working with a diverse group of humans, and they have assembled a war chest of sound pedagogical ideas. They provide a learning environment in which students are comfortable and undistracted. They establish trust with their students by offering clear objectives and by consistently providing honest evaluation of progress.

They motivate appropriately, and, ultimately, they create an atmosphere where students become self-motivated. This can come from modeling, tailoring materials to students’ interest, and exposing students to the larger world of their instruments and music-making.

You can never be overprepared for studio teaching. Accessing every resource possible will only help to make you a more

versatile teacher. While it is important to have a plan, it can’t be a mold that each student must fit into. Each student is different and not all respond to the same stimuli, so be ready with multiple analogies and metaphors that cover each aspect of teaching.

We hope this information highlights the importance and impact of private teaching on music education. Lesson teachers and ensemble directors can greatly benefit professionally and musically from quality, well-run studios.

We look forward to the involvement of

private lesson teachers in TMEA increasing, and we welcome your questions and discussion about private teaching (find us in the TMEA directory).

Nick Scales is an Associate Professor and James Barger is an Assistant Professor at West Texas A&M University. WTAMU alum Lea Baumert served as a private teacher in Richardson ISD and is currently a graduate teaching assistant at LSU.

THE UNIVERSITY OF NEW MEXICO COLLEGE OF FINE ARTS DEPARTMENT OF MUSIC

Scholarship Auditions in Music To Schedule an Audition Please Contact Michelle Morrison mmorrison@unm.edu • 505-277-8998

MONDAY, FEBRUARY 17 SATURDAY, FEBRUARY 22 AT UNM, ABQ NM Additional scholarships are available in Jazz Studies, Music Education, and String Pedagogy.

Music Ed: Robin Giebelhausen, rgiebes@unm.edu Jazz Studies: Glenn Kostur, gkostur@unm.edu String Pedagogy: Kimberly Fredenburgh, kfred@unm.edu

For general scholarship questions contact: Undergraduate Advisor Dr. Michael Hix mhix@unm.edu

MUSIC.UNM.EDU

Southwestern Musician | February 2020 43

ORCHESTRA NOTES

B Y

M I C H A E L

S T R I N G E R

Leadership part 3: the main thing

E

very day we face critical decisions in lessonplanning for our students. From specific tuning sequences to literature rehearsal, we plan each day with a slightly different goal. I think it is important that we step back and remember to keep the main thing the main thing—helping our students reach their full potential through consistent and effective teaching.

The Plan We’ve all heard “If you fail to plan, you plan to fail,” but often even veteran teachers do just that. As a student teacher, I was surprised one day by my university supervisor popping in to watch me teach. I had not prepared a formal lesson plan for the class, and when she asked for my written plan, I told her it was in my head. I then proceeded to teach what I thought was an amazing lesson that culminated in playing the piece from beginning to end for the first time. At the end of the lesson, my supervisor asked me why we ran through the piece, and found myself without a good reason for that decision. She said, “You had the students run through the piece because you ran out of material and techniques to help the students improve.” The words she spoke that day have stayed with me throughout my career. Much later, I realized that it wasn’t the

Remember that our main job as music educators is to help our students reach their full potential and give them lessons they can use for the rest of their lives.

44 Southwestern Musician | February 2020

February—Renew your membership and register for the convention.

February—Purchase tickets to the President’s Concert.

February 12–15—TMEA Clinic/ Convention in San Antonio.

February 13, 5:15 p.m.—Orchestra Division Business Meeting.

February 14, 5:15 p.m.—TMEA Region Meetings.

March 1—Texas Music Scholar online application opens.

April/May—Attend your spring Region meeting.

April–June 1—Submit proposals online for the 2021 TMEA Clinic/ Convention.

May 1—Deadline to nominate students for a Texas Music Scholar award.

A U D I T I O N D AT E Auditions are required of all entering and transferring music majors.

S AT U R D AY

February 29, 2020 (BRASS, ORGAN, PERCUSSION, PIANO, STRINGS, VOICE, WOODWINDS)

BAYLOR SCHOOL OF MUSIC B AY L O R P R E S E N TAT I O N S / P E R F O R M A N C E S AT T M E A 2 02 0 Thursday, February 13 BAYLOR UNIVERSITY WIND ENSEMBLE Eric Wilson, director of bands 4 – 4:50 p.m., Lila Cockrell Theatre

BAYLOR SYMPHONY ORCHESTRA Stephen Heyde, conductor-in-residence “Inspiring Beethoven” Concert with A Cappella Choir, Concert Choir, vocal soloists Amy Petrongelli, Jamie Van Eyck, Randall Umstead, Mark Diamond and violin soloist Patricia Shih 6:30 – 7:20 p.m., Lila Cockrell Auditorium

Friday, February 14 DEVELOPING A CONDUCTING PHILOSOPHY: A PANEL WITH THE PROS Eric Wilson, director of bands, with Eugene Corporan, UNT, and Jerry Junkin, UT at Austin 11:30 a.m. – 12:30 p.m., CC 221

#TMEA100: HISTORY OF THE ORCHESTRA DIVISION Michael Alexander, associate professor of music education Former Orchestra Division Vice Presidents share their remembrances 11:30 a.m. – 12:30 p.m., CC220

FLUTE FLEET — MUSIC SHOWCASE 12:30 – 1 p.m., CC West Lobby

BAYLOR ALUMNI RECEPTION 9:30 p.m., Rio Grande Ballroom of the Hyatt-Regency

Saturday, February 15 CULTURE BUILDING: CREATING AN ATMOSPHERE OF EXCELLENCE David Montgomery, associate professor of music education 8 – 9 a.m., CC 303

BAYLOR BASSOON ENSEMBLE — MUSIC SHOWCASE Ann Shoemaker, associate professor of bassoon “Thirty Minutes of Fun!” 10:30 – 11 a.m., CC West Lobby

FOR MORE INFORMATION: Baylor University School of Music One Bear Place #97408 • Waco, TX 76798-7408 baylor.edu/music and click on “For Prospective Students” 254.710.7681 • Music_Admit@baylor.edu

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SCHOLARSHIPS Majors ࠮ Minors ࠮ NON-MAJORS Continue your music at a college that is as smart as you are . . . whether you intend to major in music or not. Our ensembles are open to all students by audition.

SCHOLARSHIP AUDITION DATES February 17 & 22 March 28 For information, visit austincollege.edu/academics

Austin College

MUSIC Choir Band Orchestra

46 Southwestern Musician | February 2020

choice to run through the piece that was the issue but it was my failure to plan the run-through. Throughout the rest of my career, I’ve never gone into rehearsal without an idea of what we would accomplish, and I’ve kept my notes on a yellow pad to help guide my lesson along. I recorded my orchestra daily and used the recording to help me organize the next day’s rehearsal.

While I may not have always had a formal lesson plan typed and saved, I found it essential to have a focus for every lesson, and I believe it helped my students grow and feel like our time together was focused on the goal of consistent improvement.

The Execution While it is essential to have a plan, knowing how to execute that plan is vital to your students’ success. As I conducted a Region Orchestra this past December, one of the directors came up to me in a break and said, “I really enjoyed watching you dig into your bag of tricks and find ways to make those quarter notes longer.” That statement made me think back to when I was a young educator and didn’t benefit from a deep bag of tricks. When I was out of instructional methods, I would often resort to frustration and become angry at my students. Looking back now, I realize I wasn’t frustrated with them, but rather myself because I didn’t have the technique that would resonate with them and allow them to become successful. It is important that we expand our instructional techniques by learning from others. Every plan is doomed to fail if we don’t have the instructional knowledge to help our students improve and move forward along their musical journey.

We must attend workshops and clinics to develop the knowledge that can help us

Orchestra Division Business Meeting Thursday, February 13 5:15 PM / CC 214 CD

Region Meetings Friday, February 14, 5:15 PM Locations in the Program

What starts here changes the world, and the world is listening.

music.utexas.edu/apply

Edcouch-Elsa HS Mariachi Juvenil Azteca

add to our bag of tricks. Each year when I come home from the TMEA Clinic/ Convention, I have many new methods to try out with my students to help them become better performers and musicians.

My bag gets fuller every year.

The Outcome As we plan and execute, we have a specific outcome in mind. That outcome is often an amazing performance or success at an evaluation. Remember, however, our main job as music educators is to help our students reach their full potential and give them lessons they can use for the rest of their lives. We must look at each day as a moment when we can have a direct impact on the future of our society. Music teaches so much more than notes and rhythms; it teaches our students to communicate with others, connect with their inner soul and the outside world, and convey emotions and ideas to those around them. It is essential that we remember these bigger life lessons each time we step on the podium and help our students understand music’s power in our world.

Look for ways to teach them the history of the music, what was happening in society at the time, how specific moments in the music point to those happenings, and how to connect those moments to their own lives. Once you can get beyond the markings on the page, you will find that your students are able to produce outcomes that exceed your imagination. It starts with music.

TMEA Clinic/Convention Update If you haven’t yet registered, it’s not too late. Go to www.tmea.org/registration for information on how to register. You do not want to miss the centennial celebration of TMEA or any of the amazing workshops and concerts that are the cornerstone of our annual event!

I hope you will be present for our inaugural Invited Mariachi Ensemble, Edcouch-Elsa HS. Read on to learn more about this amazing ensemble.

Edcouch-Elsa HS Mariachi Juvenil Azteca, Edcouch-Elsa ISD Established in 2005, Mariachi Juvenil Azteca has quickly gained recognition across the state of Texas as one of the premier public school mariachi programs.

Along with countless accolades and numerous grand championship awards,

Mariachi Juvenil Azteca has shared the stage with artists such as Mariachi Sol De Mexico and Mariachi Vargas De Tecalitlan.

Their captivating show music has earned them performances around Texas, as well as presentations in California and Florida.

In 2019, Mariachi Juvenil Azteca was selected to perform for the National School Board Association’s annual conference in Philadelphia. In 2018 and 2019, Mariachi Juvenil Azteca was awarded the coveted title of Mariachi State Champion for the 5A Division by the Texas Association of Mariachi Educators. Most recently Mariachi Juvenil Azteca was crowned National Champions at the 24th Annual Mariachi Vargas Extravaganza held in San Antonio. Mariachi Juvenil Azteca is under the direction of head director Marcos Garcia and assistant directors Mario Ferrer and Michael Sital.

TMEA Distinguished Administrator Award Through this recognition program, TMEA has the opportunity at the state level to thank these individuals for their dedication and support. At the local level, this offers you another opportunity to share your success story with the community. Nominate your outstanding campus or district upper-level school administrator by completing an online nomination.

www.tmea.org/adminaward Southwestern Musician | February 2020 49

Vastly different.

All-State Choir Camp June 23-27 Registration Deadline: June 1

https://www.depts.ttu.edu/music/ ttuchoircamp/

TTU Band and Orchestra Camp July 5-11 Registration Deadline: June 15

https://www.depts.ttu.edu/ music/ttuboc/

A Focus on Urban & Rural Music Education

F

or the past few years, TMEA has offered a segment of clinics and roundtable discussions spotlighting challenges and strategies for teachers in urban settings. The TMEA Executive Board set this focus as a priority after the 2016 Summer Dialogue, when members from urban settings gathered to discuss their issues and solutions for music teachers working in this environment.

As youâ&#x20AC;&#x2122;ll see in the sessions we are spotlighting here, this yearâ&#x20AC;&#x2122;s

convention continues to deliver on that focus. We are also highlighting sessions targeted for teachers in rural schools. In Texas, over 660 districts are classified as 1Aâ&#x20AC;&#x201C;3A, and music educators in these locations are often the sole music specialist on their campus or for the entire district.

We thank those who are presenting their experience and advice and we encourage others to submit proposals on these topics in the future.

Thursday, February 13

10:00 â&#x20AC;&#x201C; 11:00 AM / CC 225 Creative Solutions: Building a Successful Small School Band

1:00 â&#x20AC;&#x201C; 2:00 PM / CC 217 More with Less: Successful Teaching in Low-Income Areas

Clinicians: Jon Schriver, Valley Mills HS; Christopher Clifton, Carlisle ISD The clinicians will present ideas and strategies they have used to create two award-winning small school band programs. Topics will range from instrumentation solutions and developing technique in a small school to process and planning, and how to support students who participate in multiple activities.

Clinician: Joe Alvear, Pace HS Teaching in low-income areas can be very challenging and also extremely rewarding. Alvear will discuss considerations and strategies for teachers with any amount of experience that can be implemented at the personal, classroom, and district levels to increase student and teacher success.

10:00 â&#x20AC;&#x201C; 11:00 AM / GRAND HYATT 4TH FL â&#x20AC;&#x201C; TEXAS DEF Orff in the Urban Classroom

1:00 â&#x20AC;&#x201C; 2:00 PM / GRAND HYATT 4TH FL â&#x20AC;&#x201C; TEXAS ABC Preparing Music Educators for Modern Urban Schools

Clinician: Thomas Pierre, Prince Georgeâ&#x20AC;&#x2122;s County Public Schools Sponsored by: Peripole Inc. Every learner has creative potential. Through singing, saying, moving, playing, and creating, participants will experience ways of tapping into the creative potential of learners in the urban classroom to provide meaningful musical experiences that are multicultural and arts-integrated and that address varied learning modalities.

Clinician: Alan Guckian, Ojeda MS What do new (and seasoned) music educators need to know to effectively teach todayâ&#x20AC;&#x2122;s students? Guckian will provide tips on how to survive the first few years of teaching in an urban setting and how to give students at traditionally neglected schools the support necessary to maximize their music experience.

11:30 AM â&#x20AC;&#x201C; 12:30 PM / CC WEST REGISTRATION How to Recruit, Retain, and Motivate Title I Students

Clinician: Coty Morris, MSU Community Music School Sponsored by: TMEA In an ever-changing world, it is imperative for educators to be equipped with the tools for cultural competence. Morris will untangle the web of vocabulary and concepts we encounter in a woke culture. Get help overcoming obstacles in and out of the classroom involving cultural references, repertoire, and student rapport.

Clinician: Eric Jimenez, Univ of Houston Sponsored by: TMEA Serving a Title I school music program offers challenges that can seem daunting for a music educator of any experience level. Jimenez will provide practical strategies to foster a positive environment for learning and music-making while increasing student achievement.

52 Southwestern Musician | February 2020

2:30 â&#x20AC;&#x201C; 3:30 PM / CC WEST REGISTRATION Being Human Together: Diving into the Diversity Melting Pot

2020 Cougar Band Camp Jul ulyy 55-9, 9 20 0220

2020 Cougar Directors Camp Jul uly ly 55-99, 2020

uhbaands.com m/cougarrbandccamp

4:00 â&#x20AC;&#x201C; 5:00 PM / CC STARS AT NIGHT BALLROOM 3â&#x20AC;&#x201C;4 Urban Schools: Four Keys to Program Success in Inner-City Schools Clinician: George Tullos, Longfellow MS Demonstration Group: Longfellow MS Band Many directors face difficult challenges in inner-city schools. Tullos will address four keys to program success in any environment. By understanding affective (motivational strategies) and effective rehearsal techniques, directors can overcome any obstacles and help students succeed.

4:00 â&#x20AC;&#x201C; 5:00 PM / GRAND HYATT 2ND FL â&#x20AC;&#x201C; LONE STAR DEF Everywhere Is Somewhere: Solutions for Rural Music Teachers Clinicians: Ann Marie Stanley, Louisiana State Univ; Daniel C. Johnson, Univ of North Carolina-Wilmington Rural general music teachers face numerous obstacles yet have unique opportunities to enhance the musical life in their communities. Stanley and Johnson will lead positive discussions about the challenges rural teachers face, offering ways to address budget limitations, access to high-quality resources, music teacher isolation, and transitory and low-socioeconomic student populations.

4:00 â&#x20AC;&#x201C; 5:00 PM / GRAND HYATT 4TH FL â&#x20AC;&#x201C; TEXAS DEF Ready, Set, Go! Managing Music in the Urban Classroom Clinician: Rene Boyer, Peripole Inc. Sponsored by: Peripole Inc. Teaching in an urban setting can be challenging. Boyer will help teachers develop realistic goals for students in urban settings and will provide teachers strategies needed to help students use instruments and movement to enhance the music experience. She will demonstrate techniques for good vocal development that will help teachers working with students to create and perform music from a variety of cultures.

Friday, February 14 11:30 AM â&#x20AC;&#x201C; 12:30 PM / CC WEST REGISTRATION Diversity in Action: A Deeper Dive Clinician: Coty Morris, MSU Community Music School Sponsored by: TMEA In this continuation of the clinic â&#x20AC;&#x153;Being Human Together,â&#x20AC;? participants will work together to unravel controversies and problem-solve everyday scenarios that occur in our classrooms. Join Morris for an engaging, interactive roundtable session that will move us toward more culturally relevant teaching. Your unique perspective is welcomeâ&#x20AC;&#x201D;and necessary!

1:00 â&#x20AC;&#x201C; 2:00 PM / CC 210 Practical Tools for Building Success in Urban Music Students Clinician: Nicole Melki, Ubuntu Music Project While the urban classroom can be challenging, music educators are driven by their passion to generate long-term positive educational, emotional, and social outcomes for students through high-level playing. Attendees will be equipped with practical tools for classroom management and models that foster a culture of motivation, empowerment, and success for urban students.

2:30 â&#x20AC;&#x201C; 3:30 PM / CC WEST REGISTRATION The Score: An Urban Music Education Live Podcast Clinicians: Eric Jimenez, Univ of Houston; Justin McLean, Hightower HS Sponsored by: TMEA Jimenez and McLean, hosts of â&#x20AC;&#x153;The Score,â&#x20AC;? an Urban Music Education Podcast, will guide a panel of music educators through a series of questions regarding their identity and experiences as music students and educators. The discussion will provide strategies on how music educators can create a more inclusive environment to celebrate their studentsâ&#x20AC;&#x2122; identity and culture.

4:00 â&#x20AC;&#x201C; 5:00 PM / GRAND HYATT 2ND FL â&#x20AC;&#x201C; LONE STAR DEF Recruitment & Retention: Large Results in Small Rural Schools Clinicians: Barry Hurt, Retired; Dusty Balderas, Brownfield HS; Anthony Gonzales, Plainview HS Band directors from all backgrounds, especially those from rural low socioeconomic schools, will gain the knowledge, methods, techniques, and resources required to recruit a high percentage of their students to their band program and to maintain their interest and involvement through the process. These tools have been tested and proven to workâ&#x20AC;&#x201D;especially at small rural schools!

6:30 â&#x20AC;&#x201C; 7:30 PM / CC 221 Ignite a String Playing Revolution!

Clinicians: Darcy Radcliffe, Abilene HS; Fred Grigg, Cooper HS Demonstration Group: Revolution Strings, Darcy Radcliffe, Director Use a progressive string ensemble to bring notoriety to the entire orchestra program, raise performance standards, bolster recruitment and retention, and redefine success for urban and rural settings.

Saturday, February 15 9:30 â&#x20AC;&#x201C; 10:30 AM / CC 217 AB The Urban Tenor-Bass Choir: Music that Makes a Difference!

Clinician: John Wayman, UT/Arlington What music do urban tenor-basses respond to successfully? What literature has been executed successfully in adjudicated contests? Moreover, what music elements (key, voicing, range, tessitura, melodic contour, meter, tempo, rhythm patterns, genre, style, language, length, and subject matter) are contained in these selections to help guide our curriculum? Wayman will explore how it is less of a mystery than we think.

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54 Southwestern Musician | February 2020

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VOCAL NOTES

B Y

J E D

R A G S D A L E

Ready to be inspired?

I

n just a few days, over 2,000 choral educators will be in San Antonio learning from the best and sharing their stories and experiences with each other during our association’s annual convention. I hope to see you there and can’t wait to celebrate TMEA’s Centennial with you and the other 30,000 attendees expected to participate!

In addition to performances by 13 Invited Performing Choirs, the Vocal Division will present many professional development clinics, several by our Featured Clinician Emily Ellsworth. I hope you enjoyed her article about reimagining your concerts that was printed in our January issue. Her clinics will offer both middle and high school directors incredible development opportunities.

This month’s issue includes a flashback to 1984, with an article written during Sally Schott’s term as TMEA President (who was also a Vocal Division VicePresident). Be sure to read this article that is still plainly relevant now 35 years after it was written. Schott has been a guiding force in the preparations for our Vocal Division’s history presentation that will be Thursday, February 13, at 4 p.m. just prior to our division’s business meeting in room CC 217. This lively session will be a wonderful opportunity to better appreciate our Vocal Division’s part of the TMEA Centennial.

If you’ve attended one or many TMEA conventions, you’ve likely returned home renewed and energized to make the next turn and head uphill through contest season! I hope you leave our event with several valuable nuggets of

Prepare them not just to pass a test, but to become the best choir in everything they do—not the best choir they can be—the best choir.

58 Southwestern Musician | February 2020

February—Renew your membership and register for the convention.

February—Purchase tickets to the President’s Concert.

February 12–15—TMEA Clinic/ Convention in San Antonio.

February 13, 5:15 p.m.—Vocal Division Business Meeting.

February 14, 5:15 p.m.—TMEA Region Meetings.

March 1—Texas Music Scholar online application opens.

April/May—Attend your spring Region meeting.

April–June 1—Submit proposals online for the 2021 TMEA Clinic/ Convention.

May 1—Deadline to nominate students for a Texas Music Scholar award.

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information, advice, and even repertoire ideas for future use from the outstanding performances. As you forge ahead, what is the goal you have for the rest of the year?

We’re about to be in the midst of contest season, and plenty of us will just want to get through it and on to June. Some have the goal of having a convention invited choir, whether for TMEA, ACDA, or SWACDA, and may use contest season to help get them there. With these goals, sometimes we, like our counterparts in foundation curriculum, find ourselves teaching to the test. We complain about practices the core four have in place: pulling students from our rehearsals and extra tutorials before and after school. But some of our very own music programs have practices in places such as those, for our own test, except our pull-outs are called private lessons and our tutorials are called sectionals. We want them to put their best foot forward, and it can feel like our reputation and status are in the hands of teen and tween students. It’s interesting that we could insert “administrators” in place of “we,” as if they were talking about school accountability.

Through it all, we want our students to be their best in any discipline. Most of the time it is our programs that help get them there.

Some directors wish to have the most successful program and a TMEA Invited Choir to show for it. While this is a great goal, my first suggestion is that we remove it from our common vernacular. Having this goal is like being one who desperately wants to earn a Sweepstakes award and can’t seem to focus on anything else, yet then falls short. While I’ve taught choirs that have earned plaques, I’ve also taught others that haven’t. Were they disappointed? Of course. What do we learn from it? All that we can. For one, don’t just

60 Southwestern Musician | February 2020

teach to the test. Prepare them not just to pass a test, but to become the best choir in everything they do—not the best choir they can be—the best choir. Think about that. To be the best choir, with whom is the responsibility placed? That’s right—the director.

We cannot neglect those who trust us to provide them the best possible choral music education—our students. Nor can we neglect the investing stakeholders of our programs—our students’ parents. A few months ago, after our winter Men’s Choir concert, I realized I had not been the best teacher preparing them for that performance. I didn’t exercise due diligence to shore up some easily fixable deficiencies.

No excuses here. I didn’t fulfill my part of the bargain to provide them the best possible choral education, and because of that, the performance fell short of its potential.

That is on no one else but me. Just as a coach takes responsibility for a team’s loss, I put that one squarely on my back.

However, they did develop team unity and leadership skills like no other Men’s Choir I’ve taught and I expect that to benefit them the rest of the year and beyond.

The lesson for me is if we aren’t willing to put our absolute best effort in planning, preparation, and repertoire selection based on ensemble strengths, the probability of missing the target increases. Prepare them with music literacy tools to enhance their musicianship skills, help them develop a strong foundation in vocal technique with purpose-driven warmups, work ear development with small-group peer assessments and recorded evaluations, and listen for musicality while checking for memorization. Work the concept of ensemble and utilize team-building activities to develop team chemistry, which is incredibly important. As I’ve said in previous articles, get the unbiased ears of a veteran director to clinic and offer some suggestions.

Like band, orchestra, and theater directors, drill and cheer coaches, and athletic coaches, to name a few program leaders, we, too, must put in some serious time.

This occupation we’ve chosen is a job, yes, but we all know it’s much more than that.

It is, indeed, a lifestyle choice. I see football coaches on the field from as early as 6:15 a.m. to 5:30 p.m. most days in the fall semester, and they also have Friday games that go late. Additional duties include

Saturday mornings in the office breaking down game tape as a staff in preparation for the following week’s practices and games.

High school band directors begin the year somewhere around the last week of July—when it’s hot and just getting hotter. Their school day also often starts at 6:15 a.m. with sectionals and ends at 5:30 p.m. after marching practice, with Friday night games and Saturday marching contests throughout the season. Some coaches and directors receive stipends, while others do not. Yet, they still do what it takes to make their programs the best they possibly can, aiming to be the best in their discipline.

Finding balance is indeed a key component to not burning out, so using the time allotted daily to our profession must be spent trying to make our programs the absolute best. These are just a few items, but if you prepare your group to be the best and to reach heights not thought possible, a great thing always happens: your students get better while learning so much more, and you improve with them, gaining valuable experience and insight you can someday pass along to others. Then, you just may reach your number-one goal.

Clinic/Convention News This convention has even more to offer than in past years! In addition to the special presentations I mentioned above, be sure you attend TMEA’s General Sessions.

Both the Thursday and Friday sessions are offering even more inspiration than usual, with the anticipated It Starts With Music production on Thursday and the premiere of Frank Ticheli’s Sailing the Sky at the Friday session. On Friday in the Stars at Night Ballroom, several spotlight sessions are being offered, and you’ll find some of particular interest to Vocal Division members! See page 22 for details on Friday’s extraordinary performances and presentations.

It’s not too late to register online if you want to save time when you arrive in San Antonio. Go to www.tmea.org/convention for updates. By the time you read this, the convention app will likely be available for download as well. Take time early to create a schedule for yourself to ensure you take advantage of as many clinics, performances, and exhibits as possible!

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ENERGIZING INEFFICIENT VOICES

BY LINDSAY MEDINA

C

horal directors are often challenged by students who lack the physiological awareness to properly use their voices, and students are easily frustrated by a voice that just won’t work. By utilizing a systematic approach to identify the symptoms, causes, and cures of the various vocal issues that surface in the choral classroom, directors can energize even the most inefficient voice, improving the sound of the whole choir.

What Is Vocal Efficiency?

We often hear pedagogues describe vocal technique in terms of agility, flexibility, and stamina—terms often associated with accomplished athletes. Indeed, the word efficiency generally refers to something that is working well. Vocal efficiency, then, is a sound that is freely and consistently produced, loud enough to be heard, and enjoyable to hear. It lacks weak, strident, strained, or forced sounds, and it can produce qualities that contribute to the expressive communication of text. As the late voice pedagogue Paul Kiesgen would have summarized, the efficient voice is “faster, slower, softer, louder, brighter, darker, lighter, heavier, higher, and lower.”

Identifying the Problem In addition to being able to produce the above laundry list of sound qualities, singers must do so with as little effort as possible.

Inefficiency is manifested in many ways: breathiness, pitch insta62 Southwestern Musician | February 2020

bility, low volume, lack of core in the sound, inability to produce vibrato, wobbly vibrato, or a harsh sound quality. But in a classroom setting, how can a teacher know there is a problem? Informal observation, student self-assessment, and formal analysis provide clues to identifying inefficiencies. Make note of physical cues such as poor posture, facial distortion, or neck and jaw straining during warmups. Pay attention to students’ speaking voices and how they sing as they walk out the door to their next class. This is often the voice they use when they are singing along with the radio or talking with their friends. If misuse occurring during the majority of their day isn’t addressed, the exercises introduced in class will do little to strengthen the voice.

Self-assessments can be another informative tool. Answers to questions such as “What do you hope to gain from chorus this year?” or “What would you most like to improve about your voice?” provide the catalyst for conversations where we can more specifically address the issues before we might even notice them.

Additionally, these reflections frequently reveal a student’s insecurities. Checking in with them allows the teacher to better support individual instructional goals and provide feedback that encourages a growth mindset.

Periodic formal analysis can also help you identify vocal inefficiencies, and there are several ways to accomplish this. Some students may not be comfortable singing by themselves, yet you can still hear an individual without forcing the student to sing a solo.

While the ensemble is singing a well-rehearsed piece, walk around

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64 Southwestern Musician | February 2020

the room with a good-quality recording device, pausing in front of each student.

Say their name into the microphone, then record them by holding the device close to their mouth. Later, listen to the student’s recording as many times as necessary. This low-stakes assessment strategy can still make students nervous (one of my students has lovingly dubbed my recording device the “Voice Taser”); however, it also provides the opportunity to discuss strategies for dealing with performance anxiety.

Another method is to provide an accompaniment track and allow students to submit recordings of their singing electronically outside class. These recordings provide the perfect opportunity for both formative and summative assessments.

A student’s pitches, rhythms, and observance of expressive markings might serve as a course grade, and they provide an opportunity for the teacher to listen to and comment on the student’s voice quality, range, or breathing.

Causes of Vocal Inefficiency Any medical doctor will tell you that treating the symptoms is not equivalent to treating the cause. The same is true of singing. The primary causes of vocal inefficiency in young singers are a lack of physical coordination, an improper vocal model, the inability of the singer to hear the result, a damaged voice, and hypo- or hyperfunction. Fortunately, most of these causes can be addressed in the choral classroom and private lessons.

Strategies for Treating Vocal Inefficiency To correct vocal inefficiencies, the student must agree that the sound recommended by the instructor is worth emulating. Convincing students can be harder than you might expect! Listening assignments will familiarize students with beautiful, stylistically correct singing, and reflections on their recordings will assist those who have difficulty hearing small variations in their sound.

These assignments are easy to create and provide an objective assessment opportunity (or an emergency substitute plan). Play several recordings of the same piece and ask specific questions regarding style, dynamics, or any attribute currently plaguing your choir. Follow the discussion with a recording assignment where students compare and contrast their record-

ings with an appropriate vocal model.

This can help students make connections between what is desired and what they are currently doing.

It may become clear that the vocal issue is a symptom of a larger problem. If mitigating the damaging behavior does not result in an improved sound, teachers should refer students to a specialist. Many teachers are hesitant to escalate a student’s voice problems by recommending a medical professional, yet otolaryngologists are specifically trained to deal with the head, ear, nose, and throat. The physical evidence produced by a laryngoscopy can expedite treatment and voice recovery.

Hypofunction and Hyperfunction The final symptoms of inefficiency, hypofunction and hyperfunction, can also be handled in the choral classroom.

Hyperfunction refers to overuse of, doing too much with, or abnormally increasing the load on the mechanism. In contrast, hypofunction refers to underuse of the mechanism or not requiring it to do the work it was designed to do. Each are symptoms that the student lacks vocal coordination.

To address issues of vocal coordination, begin with the leading cause of tension in the body: poor posture. The myriad of papers on the importance of proper posture should not be ignored. We know that the function of the skeleton is to provide shape, support, and protection of the body. Poor posture requires muscles take over the function of the skeleton, creating undue tension. Because of the marvelous connections within the body, this tension radiates to other areas, affecting everything we do. Fortunately, poor posture is easy to spot. Look for a haphazard heap of limbs in the chair (hypofunction) or rigidity and quivering (hyperfunction). Don’t allow members to sing with poor posture!

Teach students the proper way to sit and stand with and without a music folder.

Stop rehearsal every time someone slips out of proper posture. It may take a few weeks for the students to adapt to this new habit, and your insistence on proper posture might annoy some students (or you!).

Yet, it will be worth it to prevent tension from zapping energy and restricting range and breath expansion.

Once posture has been addressed, focus your attention on the sound’s energizing source. Breathing for singing is different

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from breathing for other activities, and a student should feel that difference! A student’s breath will impact air speed and pressure, vital qualities of sound. James C. McKinney, author of The Diagnosis and Correction of Vocal Faults, attributes many vocal problems to difficulties related to breath. Mental preparation is key, and students will need to be reminded that, unlike breathing for life, we must actively think about breathing for singing. Insist on a silent inhalation; a noisy breath indicates a partially closed throat, tight jaw, or lowered soft palate. Instruct students to breathe as if they were to smell the flower, begin a yawn, or drink a tall glass of water.

These exercises help to ensure a healthy sound where the glottis closes and the airflow begins at the same time.

Mutational Chink Just as puppies must grow into their paws, so must singers grow into their voices. There are times, particularly among female singers between 14–18 years of age, when proper breath management and posture can still result in a breathy sound.

Richard Miller, author of The Structure of Singing, states that “the primary cause of hypo functional phonation is an inadequate or incomplete closure of the glottis.” Some adolescents lack strength in the interarytenoids, resulting in a triangular gap in the back of the glottis that does not close. This naturally occurring phenomenon is referred to as a mutational chink.

While most students will develop intramuscular coordination over time, certain exercises may gently expedite a student’s quest to eradicate a breathy tone.

Ask a student to sing louder, to pretend to lift the piano, or to caricature a country and western singer. Ask the student to sing the piece on closed vowels such as [i] or [e], and combine those vowels with nasal consonants such as [m] or [n], fricatives such as [f] or [v], and sibilants such as [z].

These exercises require sufficient subglottic pressure and the firm closure of the glottis, helping students combine breath management and coordination to produce a pleasing tone.

Voice Function Exercises I have found great success with Voice Function Exercises (VFEs). As otolaryngologist Joseph C. Stemple explains, VFEs are “a series of voice manipulations designed to strengthen and balance the laryngeal musculature and to balance airflow to the muscular effort.” Many choral warmups are scalar in motion, akin to doing 30 biceps curls with a two-pound weight. While beneficial, this is not how one builds muscle. VFEs are comparable to completing fewer repetitions with a heavier weight. Both types of exercises combine to form a well-rounded exercise routine.

Stemple suggests four simple exercises, each performed twice, two times a day to increase vocal efficiency. The first exercise

is a messa di voce with the singer sustaining [i] as long as possible. Specify to the students how many beats to spend on the crescendo and decrescendo, and work up to longer durations over time. To use this VFE as both a tuning and balance exercise, start the messa di voce on a different chord member for each voice part. The second and third VFEs feature a glide from the lowest comfortable pitch to the highest comfortable pitch on [o] and then a glide from the highest comfortable pitch to the lowest comfortable pitch, also on [o].

Stemple stresses that these exercises should not be executed in a singing voice and may not be particularly beautiful.

Instead, students should attempt to complete the exercises without a noticeable break between registers. The final VFE requires students to sustain [o] as long as possible, beginning on middle C (C4) and progressing up through D4, E4, F4, and G4.

By incorporating these exercises into a regular warmup routine, students will notice an increase in volume, a decrease in excess airflow in the upper range, an increased ability to phonate at both middle and high pitches, and an extended lower range. In short, students experience greater balance and efficiency throughout the vocal registers.

Lindsay Medina is the Fine Arts Department Chair at Frassati Catholic HS in Spring.

Resources McKinney, James C. Diagnosis and Correction of Vocal Faults: a Manual for Teachers of Singing and for Choir Directors. Waveland Press, 2005.

Miller, Richard C. The Structure of Singing: System and Art in Vocal Technique.

Schirmer, 1996.

Sabol, Julianna Wrycza, Linda Lee, & Joseph Stemple. “The Value of Vocal Function Exercises in the Practice Regimen of Singers.” Journal of Voice 9, no. 1 (1995, pp. 27–36).

66 Southwestern Musician | February 2020

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B Y

A B I G A I L

H A W E S

ELEMENTARY NOTES

A welcome guest

I

t’s February—do you know where your sub plans are?

First off, let me start by saying I don’t typically use the terms sub or substitute when describing those amazing individuals who volunteer to take care of my students when I am away from campus. In my room, we call them guest music teachers.

While a substitute is simply there to fill in, I believe the term guest more accurately portrays the experience I strive to create for those who step into my classroom when I’m away. How would you treat a guest? Naturally, we want to make them feel welcome and comfortable, as well as valued and appreciated. But how can we do this for our substitute teachers, while keeping the preparation for their arrival as smooth and painless as possible?

One way is to create a Guest Music Teacher Box early in the year and keep it in a prominent location. That way, if you’re ever out unexpectedly, whoever covers your classes will have no trouble finding the materials they’ll need for the day. The contents of this box will vary from person to person; however, here are a few things you might consider including: • Guide to the Music Room binder with general instructions, including the use of audio-visual equipment • Books to read to younger classes February 12–15—TMEA Clinic/ Convention in San Antonio.

February 13, 5:15 p.m.—Elementary Division Business Meeting.

February 14, 5:15 p.m.—Attend your Region meeting at the convention.

April/May—Attend your spring Region meeting.

April–June 1—Submit proposals online for the 2021 TMEA Clinic/ Convention.

• Sub plans and worksheets • Seating charts • Crisis drill and emergency information

Taking time to prepare students when you know you’ll be out for an extended period of time can truly make all the difference.

Southwestern Musician | February 2020 69

• Bandages • Tooth chests • Nurse’s passes • Small notepad • Pencils and pens • Box of tissues • Small bag of treats (gum, mints, or even chocolate) One additional thing that can be found in my Guest Music Teacher Box is a USB drive. A few years ago, I was inspired by another teacher in my district to create

videos to have on hand for guest music teachers to use. I was specifically interested in having a resource for guest teachers that would enable K–2 students to still experience the daily routines and procedures of our classes without my being there. I stayed after school one day and filmed what would become the first of many guest music teacher videos.

By editing together greetings, welcome songs, movement activities, and a goodbye song, I now had a 25-minute video file that could keep my students singing and engaged in musical learning, even on

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days when I couldn’t be there. Since then, I’ve created other videos for various grade levels, all of which are kept on the USB drive for easy access. If you’ve never created something like this, I encourage you to give it a try! No fancy equipment is required—phones, laptops, or even document cameras can be used to record video.

And finally, don’t forget the allimportant step of preparing your students for the arrival of the guest music teacher.

Taking time to prepare students when you know you’ll be out for an extended period of time can truly make all the difference.

TMEA Clinic/Convention Update I hope you’ll be joining us for our centennial celebration in San Antonio, which is just days away now!

If you haven’t already registered, you can continue to do so online. By registering online before you arrive at the convention center, you can go through a more expedited line to obtain your badge and convention materials. The convention app is also available, so be sure to download Guidebook to your device and get the TMEA 2020 app for your use during the event.

Like last year, all Elementary Division clinics will be held in the Grand Hyatt ballrooms on the second and fourth floors (next door to the convention center).

Please make plans to attend the Elementary Division Business Meeting on Thursday, February 13, 5:15–6:30 p.m. While you’re there, you’ll receive updates on the latest division business, enjoy a performance by the ’Bahuru Marimba Band, and even have a chance to win some great door prizes!

While all TMEA Invited Ensemble Elementary Division concerts will be held in the Hemisfair Ballroom on the third

Attend the Elementary Division Business Meeting Thursday, February 13 Grand Hyatt Texas ABC 5:15 PM 70 Southwestern Musician | February 2020

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floor of the convention center, there are two additional Elementary Division performances you’ll also want to include on your schedule.

In this month’s column, I’m pleased to introduce our Orff Showcase and Kodály Educators of Texas Showcase ensembles.

The performing group selection committee and I sincerely hope you’ll make plans now to support these talented students and their dedicated directors.

This year’s Orff Showcase Ensemble, the Central Treble Makers, will perform during the Texas Orff Chapters meeting (Thursday, February 13, 1–2 p.m., Grand Hyatt Lone Star ABC), while this year’s Kodály Showcase Ensemble, the Leon Heights Elementary Honor Choir, will perform during the Kodály Educators of Texas General Membership Meeting (Friday, February 14, 1–2 p.m., CC 217).

Central Treble Makers Orff Ensemble, Carrollton FarmersBranch ISD The Central Treble Makers is an Orff ensemble that provides students in third– fifth grades the opportunity to perform music while developing confidence, creativity, and musical independence. The 2019–2020 Central Treble Makers includes 30 students who have dedicated themselves to learning music that stretches their thinking, to choreographing their own movement, and most importantly, to continue growing their love of music.

Established in 2016, the ensemble performs a variety of concerts annually. The Central Treble Makers has performed at the University of North Texas, the Fort Worth Museum of Science and History, and numerous school functions. Students in this ensemble are selected through an audition process at the end of each school year.

Director and 2018–2019 Carrollton Farmers-Branch ISD Elementary Teacher of the Year Kaitlin Troutman is currently in her fifth year of teaching elementary music at Central. After completing her master’s of music education at University of North Texas, she began teaching at Central in 2015. Since then, she has established the Central Choir and the Central Treble Makers.

Leon Heights Elementary Honor Choir, Belton ISD The Leon Heights Elementary Honor Choir is thrilled to represent Belton ISD as the KET showcase choir. An auditioned ensemble, the choir, composed of fourthand fifth-grade students, rehearses weekly after school. The choir performs around the community throughout the year and competes at the NRH2O festival each May. Members have gone on to represent the choir as members of the Belton ISD Fifth Grade District Choir, TCDA honor choirs, OAKE national choirs, SWACDA choirs, TMEA All-State Choirs, and throughout their college and professional careers. The choir was a 2012 TMEA Invited Choir.

The choir has been under the direction of

Debra Johnson since its inception in 2003.

Leon Heights is a Title One school located in the heart of Belton. The school opened in January 1956 with only six classrooms, doubling to its current size in 1970. The campus was named a National Blue Ribbon School of Excellence in 2016.

The arts are highly valued in Belton ISD, and students at Leon Heights receive 27 minutes of music instruction daily.

Johnson received her BM in Organ Performance from the University of North Texas, performed graduate work at the Norddeutsche Orgel Akademie, and completed her Kodály certification through Killeen ISD. She has served as the music teacher at Leon Heights since 1998.

Central Treble Makers Orff Ensemble

Leon Heights Elementary Honor Choir 72 Southwestern Musician | February 2020

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SUPERFOOD for Developing Brains

by Jo Kirk

H

ave you even noticed how children, even infants, are automatically drawn to music? They instantly respond with energetic movement, dance, and even join in song! Why is this?

The answer: music is activating both the left and right hemispheres of the child’s brain. Research reveals that we are not simply left- or right-brain thinkers. Both sides of our brains need to be engaged concurrently to create the best outcomes.

Music not only holds words, a left-brain concept, but also rhythm and melody, which are right-brain concepts. Thus, music is a superfood for the developing brain! When students respond to music, they are busy thinking, moving, playing, and learning through joy-filled musical experiences!

Music helps us live, love, and learn because it holds the powerful element of play. Active music-making looks and feels like play to the child. Students will continue in a music activity longer because it feels like play. How many times have you heard “Let’s do it again!” or “Are we going to play a game today?” Joyful music play causes students to thirst for more; therefore, essential skills are being developed through their musical play. Play is the child’s “work.” Through playing, they learn.

Nurturing Skills with This Superfood Skills are taught, modeled, and learned, and your music classroom environment is one of the child’s most important learning environments. So how can music educators model and guide our students to master essential developmental skills using music?

Consider the following skills nurtured through music study.

74 Southwestern Musician | February 2020

Listening Skills Listening is the most important skill students need for success in school and in life. Music holds the wonderful element of play, which motivates listening. The music compels students to listen because they want to play the games, sing the song, and be a part of the fun. To do that, they must first listen. To sing, move, play, and relate to others, they must listen. Current research shows us that children listen more readily when we sing instead of speak, so we are in the perfect position to nurture their listening skills.

What to do? Sing instructions, conversations, or tasks instead of speaking. Greet each child by singing their name. These delightful singing conversations are built around simple melodies (sol, mi–sol, mi, la). Make up original songs. As you introduce new song material, ask questions prior to the listening that will guide the child’s ear to listen for the answer. Explore high-quality children’s literature based on folk songs. Instead of reading the book, sing the book. Put on some great music and move expressively to the music.

Play rhythm instruments while singing.

Language, Reading, and Math Skills Singing games, dancing, and playing rhythm instruments help students develop listening skills and auditory discrimination (the ability to hear differences in sounds). But these are also the necessary tools in developing speech, reading, and spelling skills. Many pre-reading skills are part of music: rhyming, sequencing, patterning, word rhythm, prosody, vocabulary, meter, and eye–hand coordination, to mention a few.1

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Speaking, reading, and writing aren’t simple or easy tasks to learn, but what we do in building music skills can nurture them all. Studies at Northwestern University found that five skills trigger language acquisition: phonological awareness, speech-in-noise perception, rhythm perception, auditory working memory, and the ability to learn sound patterns.

The research revealed that children who received music training along with reading training performed much better than those who received other forms of nonmusical stimulations, such as painting or other visual arts.

A German study found that “music improves cognitive and non-cognitive skills more than twice as much as sports, theater or dance.” The study also found that students who take music lessons “have better cognitive skills, better school grades and are more conscientious, open and ambitious.”4 Here’s another mind-boggling fact to share: when a child actively participates in music, 90% of the brain is being used and developed. When the child sings, all eight centers of the brain work simultaneously.

These types of experiences build connections in the brain, which can later be used for math, reading, science, and sports as well as music.1 What to do? Sing the alphabet song and songs that teach letter sounds. (PreK and first-grade teachers will have a list.) Sing songs with repeated sounds such as “Bee Bee Bumble Bee.” Play the “Magic Word Game.” Children pop up when they hear the magic word in the song. For “lamb,” teacher sings “Mary Had a Little Lamb.”

Teach finger plays, because the motions correspond with the text, giving greater meaning to the words. Play rhythm instruments, tapping the steady beat (“the heartbeat of the song and in language”) and then progress to the rhythm (“the way the words go”). Sing traditional folk songs and nursery rhymes because the words follow the rhythmic patterns and contour of our spoken language. Sing songs in 6/8 meter since the English language moves in 6/8. Teach tongue twisters and enjoy the laughter!

Social Skills Through their participation in music class, students develop better socially.

Research conducted by the University of Miami found that children in preschool

settings become friendlier and more sociable when musical activities are part of their daily routine.1 What to do? Instead of telling students, to put the drums away, sing “Drums away.

Drums away. Time to put the drums away.”

Remember that children listen better when we sing! The joy of active music-making and singing can turn a stressful situation into calm, delight, and giggles. Something special happens between those who joyfully share music together. Lifelong bonds are formed. Empathy, emotions, and social

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interaction are modeled and learned in this play-filled musical environment! You can help students share this joy of music with each other so they can do the same when they aren’t in your class.

Movement Skills A child’s most favorite response to music is to move. To the child, music is movement. When combined with movement, music helps children develop gross motor skills, coordination, balance, and spatial awareness, and 50% more of a

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learning experience is retained when movement is added to the instruction!1 Movement helps the learning experience become more concrete. Northwestern University studies reveal that moving in time to a steady beat is closely linked to better language skills. “We know that moving to a steady beat is a fundamental skill not only for music performance but one that has been linked to language and reading skills,” states Dr. Nina Kraus, Northwestern University Professor of Neurobiology, Otolaryngology.

What to do? As you sing, also clap hands, stomp feet, wave arms, nod heads, jump up high, or twist side to side. While seated, students accompany their singing by tapping the steady beat on percussive instruments. However, wait to combine singing, playing instruments, and marching the steady beat until students are steady-beat proficient. Start by playing a fast-paced march and having students march around the room without instruments. Next add instruments, but don’t play the instrument while marching. On a signal, students stop marching and play the steady beat on the instrument. Once this is mastered, students can march and play at the same time. Whenever possible, purchase high-quality rhythm instruments because you are in the business of making high-quality sounds. Encourage the child to tap “big big big big” (macro beat) and “lit-tle, lit-tle, lit-tle, lit-tle” (micro beat) while the music plays or as they sing together. Clap the steady beat while you say nursery rhymes or tongue twisters.

Self-Control and Regulation Skills Musical activities help children learn to tell their bodies what to do, when to stop, when to go, and even when to clean up. If the child is moving with the music and the music stops, the child will often stop more readily than without music. Music energizes us. It calms us. It can make us happy or sad. It triggers the brain to learn and it helps us deal with the world around us.

Neuroscience educator and author Dee Joy Coulter stated, “Being actively involved with good music is healthy for us on every level: mentally, emotionally, physically, and spiritually.”

What to do? Find a variety of musical recordings and songs that help calm, energize, or center the students’ focus and then sing or play them whenever each is appropriate. You might dim the lights in

your room or change the students’ positions during these listening experiences.

Sing and perform for your students!

Accompany yourself with a variety of instruments. Select a greeting and closing song that will be sung each time the students meet.

Remember, you create and foster the environment and climate in your classroom and it can always be filled with joy and music as you share, explore, and integrate this superfood into your students’ daily diet.

Jo Kirk is President and CEO of WeJoySing, Inc. She is also a 2020 Elementary Division Featured Clinician.

References 1. Coburn, E. “Why Early Childhood Music and Movement Classes? Part I.” www.wejoysing.com/blog/2019/12/whyearly-childhood-music-and-movementclasses-part-i-earleen-coburn 2. Coulter, D.J., EdD, Neuroscience & Research Colorado: Lecture at University of Delaware (documented in www.wejoysing.com/blog/2019/12/whyearly-childhood-music-and-movementclasses-part-i-earleen-coburn) 3. Cunningham, A.; Zibulsky, J. (2014) Book Smart: How to Develop and Support Successful, Motivated Readers.

Berkeley, CA: Oxford University Press.

4. German Socio-Economic Panel, 2013. www .diw.de/documents/publikationen/73/ diw_01.c.429221.de/diw_sp0591.pdf Other Resources Hogenboom, M. “Moving to the Rhythm ‘Can Help Language Skills’” BBC News, September 18, 2013. www.bbc.com/ news/science-environment-24124158 Humpal, M. “The Effects of an Integrated Early Childhood Music Program on Social Interactions Among Children with Handicaps and Their Typical Peers.” Journal of Music Therapy Volume 28, Issue 3, Fall 1991, pp.

161–177 http://jmt.oxfordjournals.org/ content/28/3/161.short Kodály, Z. (1974) The Selected Writings of Zoltán Kodály. London, W1A IBR: Boosey & Hawkes Music Publishers, Ltd. Kodiak, E. “Using Music to Teach Literacy: Our Best Hope for Saving Music in Schools?” presented at The Children’s Music Network Northeast Regional Gathering, Saturday, March 23, 2013, Canton, MA. Kraus, N. “The Ability to Move to a Beat Is Linked to the Consistency of Neural Responses to Sound,” Northwestern University https:// n o r t hwe s t e r n . a p p. b ox . c o m /s / ff7afcx4y1cm6l135xllm4410yxt46yl

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B Y

V I C K I

COLLEGE NOTES

B A K E R

Lessons our students teach us

A

s music educators, we are continually focused on how we can reach, teach, and inspire our students to achieve excellence in performance and to love music. Joyfully, I have found that my students have often taught me just as much. What follows are some stories and the lessons I’ve learned from them.

February 12–15—TMEA Clinic/ Convention in San Antonio.

February 13, 5:15 p.m.—College Division Business Meeting.

February 14, 5:15 p.m.—Attend your Region meeting at the convention.

March 15—Deadline to submit collegiate music educator award nominations for spring/summer graduates.

April/May—Attend your spring Region meeting.

April–June 1—Submit proposals online for the 2021 TMEA Clinic/ Convention.

Did You Understand What I Said?

When I taught high school choir, Leslie was placed in my class, and with her came a list of accommodations. As I glanced at her IEP, I came across a statement that deeply concerned me. Leslie’s vocal cords were paralyzed and she was incapable of phonating. It occurred to me that choir was a poor placement, given her limitations. I was not as concerned about her inability to sing as I was her lack of communication skills.

The first day of class, I greeted Leslie at the door, showed her where to place her motorized wheelchair, put her sightreading book open to the correct page on the tray attached to her chair, and instructed the girl standing on the end of the risers next to her to share her choir folder. We continued this same routine for several months. One day, when I told the students to study lines 4–5 of their sightreading on page 14, Leslie raised her hand and I immediately went to her chair and asked her what was wrong. I knew she could not respond, but I was unsure of what else to say. Due to her minimal muscular coordination, it took

It is the supreme art of the teacher to awaken joy in creative expression and knowledge.

—Albert Einstein Southwestern Musician | February 2020 81

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her a while to move her hand down and point to her sightreading book. I looked where she was pointing and realized that I had opened her book to the wrong page.

I cannot adequately describe the impact that moment with Leslie had on me. I had initially been opposed to her enrollment in my class due to her inability to use her voice. However, she became my teacher and taught me a powerful truth—do not assume students with disabilities are incapable of understanding, even if they are unable to respond. Treat all students the same, regardless of abilities or disabilities.

Lesson Learned: Keep expectations high when teaching students with special needs.

Reach Out and Touch Alan was a member of my high school choir. He had a lovely bass voice, but his family could not afford private lessons, so I taught him at no charge. He was preparing for TMEA Region Choir auditions and was struggling with one of the songs, due to the quick tempo and the Slavic text. He explained that he had trouble processing information quickly, because when he was a baby, his father, angered at Alan’s continued crying, banged Alan’s head against the wall.

After slowing down the music, to facilitate learning the pitches, rhythms, and text, we gradually took it at the required tempo and he was able to sing it. I was so proud of him! I automatically reached out my hand to pat him on the shoulder, but he quickly jerked away. I was stunned! I would never intentionally do anything to make a student feel uncomfortable. What I had meant as a positive reinforcement had the opposite effect. It suddenly occurred to me that Alan had probably never been touched in a loving way and that he associated touch with pain.

I continued to teach Alan voice and help him build his confidence and trust.

However, I carefully avoided any type of physical contact. In the spring, we began working on a solo for UIL contest. He worked very hard and managed to get a first division on a Class I solo. When I handed him his medal, unthinking, I patted his shoulder. He did not jerk; rather, he stood still and grinned.

Many years later, I was teaching a choral methods class and students were taking turns leading warmups. One of the students directed “her choir” to turn to

their side and massage the shoulders of the person in front of them. I noticed that a member of the class immediately stepped to the side. I walked over to her and quietly asked her what was wrong. Her response, “I don’t like for anyone to touch me.” From that point on, I began to teach my classes to exclude choral warmups that involve physical contact.

Lesson Learned: Always ask permission before touching a student. While you may consider a pat a positive gesture, it could be a negative experience for some.

From a Frog to a Prince During my first week as a middle school choir director, my assistant, who had taught at the school for several years, warned me about Nathan, the kid who put a dead frog in the previous choir teacher’s folder. Nathan began his eighth-grade year as a second tenor, but had a voice change two weeks before TMEA Region Choir auditions, so he had to learn the bass part quickly. He ended up making first chair.

He was obviously talented, but . . .

When Nathan was moved to the bass

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Southwestern Musician | February 2020 83

section, he was not exactly embraced by his bass brothers. He had difficulty keeping his hands to himself, talked constantly, and distracted the other basses. I finally had to move him about six feet away from the section; he could stand in his section only the day before a performance.

Whenever we worked on a piece and I heard something wrong in the bass section, I would stop and look at the basses, and simultaneously, the 10 others would point at Nathan. I recall a couple of days prior to UIL Concert and Sightreading Contest, Nathan’s choir was singing Der Herr Segne Euch when I suddenly heard some incorrect notes in the bass section. I asked them what was going on and they all pointed to Nathan. He said, “I was thinking it would sound better if Bach had written it like I sang it.” I “patiently” explained that the UIL judges would be evaluating us according to Bach’s score, and it would be best if he followed Bach’s version.

Since there were no private voice teachers available, I gave Nathan lessons free of charge. I was also the Assistant HS Choir Director, so I continued working with him through high school. He never man-

aged to make it on stage with his bow tie.

Sometimes he would forget where to stand on the risers. He never submitted any paperwork in a timely fashion because he would either lose or forget it. He frequently forgot lyrics when performing in a musical and would just make up something.

While Nathan did enough to try the patience of any choir director, I continued to believe in him because I saw something special in him. He became a twoyear Texas All-State Choir member. He received a degree in vocal performance from UNT and then enlisted in the Air Force and joined the Singing Sergeants.

After his tour of duty, he was hired by the New York Metropolitan Opera, where he continues to sing today. He has won Grammy awards and volunteers to teach voice lessons to children in the foster system in New York.

Lesson Learned: Although a student may appear disorganized, irresponsible, and disruptive, rather than focusing on their behavior, look at the underlying causes. Direct your attention to their positive qualities and encourage them to develop their talent.

Andrew Last, conductor

TMEA Clinic/Convention Update Over the past 100 years, TMEA has provided its membership with thousands of hours of professional development and has hosted exceptional musical performances from students of all ages. I have had the privilege of attending our annual convention as a student, a public school music educator, a university teacher trainer, and most recently as a member of the Executive Board. My development as a music educator has been closely associated with the training I received, the concerts I attended, and the network of colleagues I acquired during my annual trek to San Antonio each February. I strongly encourage you to attend this year’s convention where we will celebrate TMEA’s Centennial.

If you haven’t already registered, you can continue to do so online. By registering online before you arrive at the convention center, you can go through a more expedited line to obtain your badge and convention materials. The convention app is also available, so be sure to download Guidebook to your device and get the TMEA 2020 app for your use during the event.

Daniel Baldwin, conductor

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