February 2014 Southwestern Musician

FEBRUARY 2014

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55 FEATURES

FEBRUARY 2014 VOLUME 82 — ISSUE 7

16

Attend the Second General Session to demonstrate your thanks to this champion of arts education.

18

President’s Notes .............................................. 7

by Joe Weir Executive Director’s Notes..................11

by Robert Floyd

Diversity & Artistry With a rigorous curriculum, guitar instruction can offer students a meaningful and motivational opportunity to study music and H[SHULHQFH WKH EHQHÀWV RI EHORQJLQJ WR DQ HQVHPEOH

BY MATTHEW HINSLEY AND TRAVIS MARCUM

38

On the cover: President Joe Weir, Past-President John Gillian, and President-Elect Janwin Overstreet-Goode. Photo by Karen Cross.

COLUMNS

Representative Aycock to Receive the TMEA Distinguished Service Award

Successful Ensemble Classes in the Inner City Through exploration, expectations, and experience, you can start inner-city music students on their journey to lifelong participation in music.

BY BETH POQUETTE DREWS

46

Technology Works for Me: Interactive Lessons for Elementary Students Through some simple uses of technology, you can offer students new and exciting ways to study music and meet TEKS objectives.

BY KAREN LOWMAN

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Across the State, Music Is Sounding a Little Sweeter With new instruments and supplies recently purchased, students across the state can’t wait until it’s time for music class! Some recipients of the TMEA Elementary Music Grant share their stories about what receiving grant funding has meant to their students.

Band Notes .............................................................27

by Ronnie Rios Orchestra Notes .............................................. 33

by Craig Needham

UPDATES

Vocal Notes ........................................................... 48

by Dinah Menger

Creating Your Convention CPE Credit Record ..............................................2

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

by Colleen Riddle

Free Convention Parking with Shuttle Service ............................................2

College Notes ......................................................70

by Keith Dye

2014 TMEA Clinic/Convention: What to Know When You Arrive ................4

Southwestern Musician | February 2014

1

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

Managing Editor: Karen Cross

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

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

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

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

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

Orchestra Vice-President: Craig Needham Craig.Needham@richardson.k12.tx.us 1600 E Spring Valley Rd, Richardson, 75081-5351 469-593-7028 – Berkner HS

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

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

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

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

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

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

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

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

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

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

Free Convention Parking with Shuttle Service Alamodome Lot B Free parking is available at the Alamodome Lot B and TMEA provides free shuttle service from this lot to the convention center.

NOTE: With road construction, the Alamodome walkway to the convention center is obstructed. Plan to wait for shuttle service. Check the convention webpage Directions and Parking section before you leave for more information on road closures and walking detours.

Thursday: 7:30 A.M.–10:30 P.M. Friday: 7:30 A.M.–9:30 P.M. Saturday: 7:30 A.M.–11:30 P.M. DETAILS AT: WWW.TMEA.ORG/CONVENTION

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

6XEVFULSWLRQ UDWHV 2QH <HDU ² 6LQJOH FRSLHV 3HULRGLFDO SRVWDJH SDLG DW $XVWLQ 7; DQG DGGLWLRQDO PDLOLQJ RIĂ&#x20AC;FHV 32670$67(5 6HQG DGGUHVV FKDQJHV WR 6RXWKZHVWHUQ 0XVLFLDQ 3 2 %R[ Austin, TX 78714-0465. Southwestern Musician was founded in 1915 by A.L. Harper. Renamed in 1934 and published by Dr. Clyde Jay Garrett. Published 1941â&#x20AC;&#x201C;47 by Dr. Stella Owsley. Incorporated in 1948 as National by Harlan-Bell Publishers, Inc. Published 1947â&#x20AC;&#x201C;54 by Dr. H. Grady Harlan. Purchased in 1954 by D.O. Wiley. Texas Music Educator was founded in 1936 by Richard J. Dunn and given to the Texas Music (GXFDWRUV $VVRFLDWLRQ ZKRVH RIĂ&#x20AC;FLDO SXEOLFDWLRQ LW KDV EHHQ VLQFH ,Q WKH WZR PDJD]LQHV ZHUH PHUJHG XVLQJ WKH QDPH 6RXWKZHVWHUQ 0XVLFLDQ FRPELQHG ZLWK WKH 7H[DV 0XVLF (GXFDWRU XQGHU WKH HGLWRUVKLS RI ' 2 :LOH\ ZKR FRQWLQXHG WR VHUYH DV HGLWRU XQWLO KLV UHWLUHPHQW LQ $W WKDW WLPH RZQHUVKLS RI ERWK PDJD]LQHV ZDV DVVXPHG E\ 70($ ,Q $XJXVW WKH 70($ ([HFXWLYH %RDUG FKDQJHG WKH name of the publication to Southwestern Musician.

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Southwestern Musician | February 2014

Begin your music education career at one of Texas’ outstanding two-year colleges.

BLINN COLLEGE CONTEST DATES Solo & Ensemble - Feb. 28 Jazz Festival - March 6 Concert Bands - March 26-28 Concert Choir - March 28

success.

The sound of

Blinn College - Brenham, Texas J. Hal & Allyne Machat Music Facility Our outstanding and diverse music faculty make teaching their top priority, enabling students to expand their musical horizons.

Jill Stewart ..................... Assistant Fine Arts Chair, Aural Music and Clarinet Harry D. Blake ........... Director of Bands Dr. Sarah Burke ......... Assistant Director of Bands and Percussion John Dujka .................... Music Theory and Piano Dr. Craig Garrett ..... Jazz Ensemble, Trumpet, and General Music Brian Klekar .................. Assistant Jazz Ensemble, Saxophone, and General Music Marie McElroy ............ Flute John McCroskey ....... Trombone Larry Campbell ......... Euphonium/Tuba Todd Quinlan .............. Percussion and General Music, Music Literature Felipe Vera ..................... Horn Steven Winter ............ Horn and Trumpet Karen Blake ................. Color Guard and Woodwinds Robert McElroy ........ Accompanist Eric Miller ....................... Music Theory, Music Appreciation, and Oboe and Bassoon

Director of Choral Studies,Voice, and Aural Music Vicki Wehmeyer ....... Voice, General Music and Piano Lauren Shelton .......... Voice John Vavroch ................ Voice Cheryl Amelang ........ Accompanist Dr. Joel Plaag

...............

AUDITION DATES BY APPOINTMENT January 11 & 25, 2014 February 22, 2014 • March 19, 2014 For more information call 979-830-4262 or 830-4652 or visit our website at:

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TMEA CLINIC/CONVENTION Including the TI:ME Music Technology National Conference FEBRUARY 12–15, 2014 • SAN ANTONIO, TEXAS

WHAT TO KNOW WHEN YOU ARRIVE TI:ME Preconference Registration Wednesday, 8 a.m.– 3 p.m. (CC Room 204)

TMEA Registration Wednesday .....1:00 p.m. – 9 p.m.

Thursday .........7:30 a.m. – 5 p.m.

Friday .............7:30 a.m. – 5 p.m.

Saturday..........7:30 a.m. – 2 p.m.

On-site Registration

Preregistration has ended; however, you can still register on-site in San Antonio: • Active music educators: $70 / Retired music educators: $15 • College student members: $0 (included in $20 membership) • TI:ME Preconference: $50 (paid separately, in the foyer of CC 204) If you need a registration form to request a check or purchase order from your school, go to www.tmea.org/convention then to the registration information page.

TI:ME Preconference attendance cannot be paid from the same check and cannot be paid by purchase order.

Payment Accepted payment types for TMEA registration are: Visa, MasterCard, AMEX, personal or school check (checks will be run same day), and official, signed purchase order.

Free Parking/Shuttle - UPDATE!

Convention Badge Pickup

• Preregistrants: Pick up your badge by the last name on your member record.

• On-site: If you didn’t preregister, register at a computer kiosk to get your badge.

• TI:ME Preconference: For this Wednesday event, you’ll get a separate badge at the TI:ME registration outside CC 204 on the second floor. TMEA badge not required to attend the preconference.

Family Members Badges for family members of registered attendees are $10 each (as long as the family member is not also a music educator, music minister, musician, or college music student).

Children under 12 are free (must be present). Badges purchased online are provided when you pick up your convention badge. You can also purchase family badges when you complete on-site registration, or later at the visitors booth.

Park for free at the Alamodome Lot B. TMEA provides free shuttle service Thursday–Saturday. This lot does not include security, so don’t leave behind any valuables. Note: With road construction, the Alamodome walkway to the convention center is obstructed. Plan to wait for shuttle service. Check the convention webpage Directions and Parking section before you leave for more information on road closures and walking detours.

Online Schedule & Mobile Guide From www.tmea.org/convention, you can create a personal schedule, retrieve it for editing, and print it. This is also the first step in creating your CPE record.

You can also download the convention mobile guide to a mobile device for easy reference throughout the convention.

W W W . T M E A . O R G / C O N V E N T I O N 4

Southwestern Musician | February 2014

Stay the course B Y

J O E

W E I R

M

usic education is and, with your help, will continue to be one of the most engaging, interactive, and fulfilling subjects taught in our public schools today. The quality of what is presented, promoted, and performed for parents, administrators, and the community is up to you! Remember, you are the expert and best advocate for that quality education I have mentioned in each of my columns.

When I look back over my year as TMEA President, it is hard to believe all we have accomplished as individuals, as a membership, as Region Chairs, State Board members, Area Chairs, committee members, elementary coordinators, middle school coordinators, college representatives, contest hosts, audition hosts, region clinic/concert hosts, organizers, section leaders, accompanists, soloists, private lesson teachers, student teacher mentors, and, for many of you, also parent volunteers and booster officers of your own children’s music programs. The list goes on!

With the guidance of Robert Floyd, our insightful Executive Director of 20 years, and with the help of the amazing TMEA staff, your Executive Board successfully kept a pulse on the 83rd legislative session. They also supported Region Chairs and thousands of students through another successful All-State process.

This has also been a year in which your Executive Board decided to spend and invest funds on worthy projects to support our members.

At the June meeting, your Board voted to distribute $500,000 in muchneeded grant money to elementary music programs statewide. In addition, they voted to supplement our scholarship program by $500,000. This bump into the scholarship fund will enable that program to function more like an endowment in the future.

PRESIDENT’S NOTES IMPORTANT DATES February 12–15—TMEA Clinic/Convention in San Antonio.

March 1—Texas Music Scholar application available online.

April/May—Attend your spring Region meeting.

April–June 1—Submit clinic proposals for the 2015 TMEA Clinic/Convention.

We must continue to move forward while holding on to the basic principles and ideas we know are fundamental to a quality music education for all students and future music educators.

Southwestern Musician | February 2014

7

SEE

YOUR FUTURE

What your music students dream, SmartMusic can help them achieve. As an educator with SmartMusic, your students will learn faster through interactive practiceâ&#x20AC;&#x201D; and you can provide individualized instruction for large groups. Bring SmartMusic into your classroom and see for yourself how it motivates and engages students to see their future.

Visit www.smartmusic.com to learn more!

At our January meeting, we granted over $150,000 in scholarship assistance to deserving college-bound students, graduate students, and student teachers. Your Executive Board also followed HB 5 to its fruition in State Board of Education rule adoption, ensuring fine arts remained a requirement of all graduation plans and that flexibility for fine arts participation is protected no matter the endorsement.

And finally, I’m proud of the Stipend Review Committee members, who formulated recommendations for parity across divisions that pay honorariums to hosts and chairs, while Constitutional Review Committee members drafted language to amend our constitution to allow for electronic voting in the future.

These are all huge steps forward for our organization and music education.

Please realize that by maintaining an active membership in TMEA, you make all this possible. You, the members, will keep TMEA strong for years to come.

We are an incredible organization that must continue to move forward in this fast-paced 21st century while holding on to the basic principles and ideas we know are fundamental to a quality music education for all students and future music educators. What other discipline or profession comes in contact with so many lives on so many levels, creating memories, disci-

plined habits, and experiences that last a lifetime? I can’t think of one.

We all have experienced those memories and are now passing them on to a new generation of music lovers. Please stay the course and remember that you make a difference. All students benefit when we work together as a huge vertical team advocating for music from the elementary classroom to the college arena.

It has been my honor, pleasure, and privilege to serve you, the TMEA membership, in a leadership role of what I consider to be one of the greatest and most

influential forces in a Texas student’s education. Your constant support and professional input has made this an enjoyable and fulfilling task. Making a difference in the lives of schoolchildren and teachers has been more than worth the journey.

Thanks go to the many volunteers, the Executive Board, and the TMEA staff for their commitment and work to ensure our 2014 Clinic/Convention is an incredible success! I encourage you to run for office in the future and become a part of the leadership that keeps us strong. You will not regret it. Long live TMEA!

TMEA PRESIDENT’S CONCERT | THE 5 BROWNS

Wednesday, February 12 8 P.M. • Lila Cockrell Theater $10 Tickets at the Information Booth in the Main Registration Hall Southwestern Musician | February 2014

9

We Are San Antonio Music Teachers

Come see us at TMEA!

Clinic Presentations by UTSA Faculty * Teaching the First Day of Strings Class Kristen Pellegrino Thursday, February 13 - 1:00 PM - CC207

* Teaching Beginning Band: Is There Madness to Your Method?

Si Millican Friday, February 14 - 4:00PM - CC 214

* Music Education Organizations on Campus Susan Dill Friday, February 14 - 2:30PM - CC 213

* Classroom Management: Are You Proactive or Reactive?

Kristen Pellegrino & Si Millican Friday, February 14 -10:00 AM - CC 213

Graduate School Fair - February 14, 4-5PM Exhibit Hall A

Alumni Reception - February 14, 9 - 11PM Rio Rio Cantina - on the Riverwalk at 421 E. Commerce

Music Students

Come join us!

College Night - February 14, 6 - 8 PM Music Major Auditions to Pho : Bra

n ndo

* Februa February 22, 2014 * March 1, 2014 * May 3, 2014 (non-scholarship woodwind, brass, percussion, and string students only) hy grap oto r Ph che Flet

We Are UTSA

速

The University of Texas at San Antonio Department of Music

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

Convention happenings B Y

R O B E R T

F L O Y D

I

am sure by now you have had an opportunity to peruse the convention schedule and identify the concerts and sessions you want to attend as well as the exhibitors to visit. Certainly you will want to develop your personal schedule and download the convention mobile guide app prior to departing for San Antonio. The last several months our Vice-Presidents and President Weir have been highlighting many of the features of the convention you will not want to miss. I too would like to highlight a few events as well as some changes you should be aware of prior to attending.

General Sessions and Division Business Meetings First of all, the two General Sessions on Thursday and Friday begin at 8 A.M. this year. There were two primary reasons for this change. The 8 A.M. clinics prior to the General Sessions in past years always seemed to be rushed to allow attendees to get to the General Sessions by 9 A.M., and the General Sessions tended to have delayed starts because of late arrivals. Secondly, over the past few years attendance at some divisional business meetings has been dwindling.

To address this concern, the Executive Board decided to schedule the division meetings at the same time, on Thursday at 5:15 P.M., in hopes that with no conflicts, attendance would be feasible for more members. To make this schedule functional and not eliminate a clinic or concert slot, this necessitated concluding the General Sessions by 9:30 A.M. The last time we made a change in the General Session scheduling we invited Tim Lautzenheiser to provide the Thursday keynote address to encourage attendance. It was a major success, so this year we have again invited Dr. Tim to give the opening keynote to offer that extra incentive for you to attend the

EXECUTIVE DIRECTOR’S NOTES IMPORTANT DATES February 12–15—TMEA Clinic/Convention in San Antonio.

March 1—Texas Music Scholar application available online.

April/May—Attend your spring Region meeting.

April–June 1—Submit clinic proposals for the 2015 TMEA Clinic/Convention.

Before you attend the 2014 TMEA Clinic/ Convention, be sure to take note of some important changes in our offerings and schedule.

Southwestern Musician | February 2014 11

Music Education at Texas Tech %DFKHORU RI 0XVLF ZLWK 7HDFKHU &HUWLÀFDWLRQ Master of Music Education PhD in Fine Arts (Music Education)

Passionate in Preparing Music Educators Our faculty includes full-time experts in all areas of music education, and each has been a successful K-12 music educator.

• Susan Brumfield, Kodály & Elementary Music Education • Carolyn Cruse, Choral Music Education • Jenny Dees, Early Childhood Music Education • Keith Dye, Band Music Education & Technology • Janice Killian, Research & Chair of Music Education • Bruce Wood, Orchestra Music Education

music.ttu.edu

Student Teaching Supervisors Eric Allen, Gerald Babbitt, Bob Bryant, Robert Henry, Duane Hill, Rodney Klett, Jo Scurlock-Dillard

Summer 2014 Graduate Studies in Music Education Texas Tech offers an innovative summer music education graduate program requiring only a few intensive days of classes followed by projects due in August. Classes are available at a distance via video-conferencing. For more information, visit music.ttu.edu or contact Janice Killian at Janice.killian@ttu.edu or 806-834-2010. See our Summer MMED ad in the TMEA Convention Program.

Remaining 2014 School of Music Audition Dates Saturday, February 22 | Saturday, March 1

General Session at the earlier hour. Tim never disappoints!

On Friday morning, Sir Ken Robinson, internationally recognized leader in the development of education, creativity, and innovation, will deliver the General Session keynote address. We are quite fortunate to book Sir Ken given that he accepts only one out of four invitations to speak. He gave our Second General Session keynote seven years ago, and with its resounding success, his message is one you will not want to miss. If you are unfamiliar with him, I encourage you to listen to his 20-minute TED Talk presentation on creativity and education, the most viewed TED Talk in the history of the series. Go to www.tmea.org/ tedtalk to view this address. If you do, I guarantee you won’t dare miss his Friday morning message. To accommodate overflow crowds, we will be prepared to simulcast both General Sessions in room CC 103.

Division Business Meeting Offerings As another incentive to attend your division business meeting, three of the divisions—band, college, and elementary—have scheduled speakers as a part of their programs, and the orchestra division is hosting a special performance. Be there to enjoy these special offerings, to hear President-Elect support speeches, and to vote in the Band and College Division Vice-Presidential elections.

New Graduate School Fair New this year will be the Graduate School Fair at 4 P.M. Friday in CC Exhibit Hall A. This event will allow college students and active music educators time to interact with graduate music school representatives from Texas and beyond without the usual crowds of College Night that begins at 6 P.M. TI:ME National Conference While it is not a change from last year, I am sure you are aware that we are once again hosting the TI:ME Music Technology National Conference with a preconference offering of workshops and clinics on Wednesday beginning at 11:30 A.M. Preregistration has exploded for this additional event and learning opportunity. Don’t miss it!

Construction and Road Closures Finally, as you arrive in downtown San Antonio, there is a possibility that traffic could be challenging with street and utility construction triggered by the convention center expansion. For a link to the latest detour information, go to the Directions and Parking section of our convention webpage. The good news is there should be no inconveniences once you are inside the center. As I drive to work each morning, I am continually reminded by my favorite sportscaster that “happiness is a choice.” Don’t let a few delays and traffic challenges take away from what will be a wonderful convention experience.

We have survived four renovations or expansions over the years, and we will survive this one with minimal inconvenience. The center management team is very sensitive to our need to have an environment that is conducive to musicmaking and concert listening, and they will do all in their power to accommodate our requests. If you are driving in each day and parking in Lot B at the Alamodome, you should allow extra time to catch the shuttle since the direct walk-

ing route to the center will be closed due to construction. Check the convention webpage Directions and Parking section before you leave for more information on road closures and walking detours.

HB 5 Rules in Place By the time you receive this issue of SOUTHWESTERN MUSICIAN, the State Board of Education will have adopted the rules guiding the implementation of the new graduation plans as defined by HB 5. You may go to the homepage of www.tmea.org for a link to this latest information. Since local districts will decide many of the implementation policies relative to coherent sequences of courses as called for in each of the five endorsements, including the arts and humanities pathway, I encourage you to carefully monitor that local process. Remember that each current eighth-grade student must choose an endorsement this spring, and it will be important that you counsel your students on how they may remain a part of your program throughout high school no matter the endorsement. Feel free to call or email me any questions you may have and I will do my best to assist you.

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Come visit Booth 716 and receive a complimentary “Way Cool” Keyboarding Book One

www.MusicalMomentsRMM.com Southwestern Musician | February 2014 13

Representative Aycock to Receive the TMEA Distinguished Service Award

D

uring the Second General Session of the 2014 Clinic/ Convention, TMEA will present the Distinguished Service Award to Representative Jimmie Don Aycock, Chairman House Public Education Committee, and author of HB 5.

TMEA presents this award to individuals who have made significant contributions to education and especially to music education in Texas through the years. Chairman Aycock has demonstrated passion and loyalty in ensuring a well-balanced education for very child that includes the arts. The Executive Board is honored to demonstrate their appreciation on behalf of our 13,000 members, and truly, the 4.7 million Texas students will be the beneficiaries. Moving forward, each high school student will continue to have exposure to a minimum of one fine arts course as a part of their graduation plan.

In an effort to address the unique needs and interests of our students, Aycock also authored a graduation program that includes an Arts and Humanities endorsement, or pathway, for our serious fine arts students to pursue. We believe this endorsement will give our music students the flexibility to pursue their passion while still assuring they will receive rigorous experiences in other subject areas that contribute to a well-balanced education.

Throughout the 83rd session, Chairman Aycock treated the hundreds of people who testified before his committee with respect and made all of us believe our opinions mattered. He was gracious and professional in every way and always had time to listen. It was clear from the beginning of the session that his priority in the passage of House Bill 5 was to serve all Texas school students and to craft a graduation plan that would give hope to the 40% of students who historically dropped out of high school or defaulted to a minimum plan.

Previous TMEA Distinguished Service recipients have included former Representative Paul Sadler, a previous Chairman of the House Public Education Committee who led the fight to protect the well-balanced curriculum in the public schools of Texas in 1995; Geraldine “Tincy” Miller, Chair, State Board of Education, for her ongoing support of fine arts in the curriculum throughout her years on the Board; and Representative Rob Eissler for his commitment to arts education while also serving as Chair of the House Public Education Committee. The Board considers Chairman Aycock’s contributions to music and the arts in our schools to be equally as important as the work of all former recipients.

16 Southwestern Musician | February 2014

REPRESENTATIVE JIMMIE DON AYCOCK Representative Jimmie Don Aycock graduated as valedictorian from Moody HS in 1965. He then attended Texas A&M University and graduated with a bachelor’s degree and Phi Kappa Phi honors in 1969 and earned his doctor of veterinary medicine in 1970. He served as a captain in the United States Army and was awarded the Army Commendation Medal.

Dr. and Mrs. Aycock have not only been partners in life but also in business. As small business owners, they owned and operated veterinary clinics in Killeen, Harker Heights, and Copperas Cove from 1972 to 1998.

The Aycocks are also ranchers, now raising registered Belted Galloway cattle.

Aycock held several publicly elected positions before becoming a Texas State Representative. He served on the Central Texas College Board of Trustees and the Killeen ISD Board of Trustees, and he served as president of two water boards. He has held many past service positions, including director with the Greater Killeen Chamber of Commerce, the Texas Veterinary Medical Association, and president of the Harker Heights Chamber of Commerce. He has received numerous awards, including the Killeen Chamber of Commerce Roy J. Smith Award in 2008. Aycock serves as a respected Deacon and trustee at First Baptist Church in Killeen.

In 2006 Aycock was elected to serve in the Texas Legislature, representing House District 54, which includes western Bell and Lampasas counties. He has served on the Appropriations Committee, the Appropriations Subcommittee on Education, the Higher Education Committee, the Redistricting Committee, and the Select Committee on Public School Finance among others.

He is currently a member of the Culture, Recreation, and Tourism Committee and serves as Chairman of the Public Education Committee. Recent awards include the 2013 Friends of Texas Public Schools Friend of the Year Award, the Texas Industrial and Vocational Association Legislator of the Year Award, and the Texas Parent Teacher Association Legislator of the Year Award.

UNT College of Music Summer Workshops 2014 10th Annual Pirastro Strings Elite Soloists Program Jeff Bradetich May 30-June 6

Marimba Workshop Christopher Deane June 16-20 Drum Major and Student Leadership Camp Nick Williams June 19-22

Flute! High School Masterclass Mary Karen Clardy June 4-8

Vocal Pedagogy Workshop Stephen Austin June 19-22

27th Annual Bradetich Double Bass Masterclass Jeff Bradetich June 9-13 Flute! Fundamentals for Teachers Mary Karen Clardy June 9-13 Lynn Seaton Jazz Double Bass Workshop Lynn Seaton June 9-13 Conductors Collegium Eugene Migliaro Corporon, Dennis Fisher, H. Robert Reynolds June 9-20 14th Annual Beginner and Intermediate Double Bass Camp Jeff Bradetich June 11-13

Flute! Repertoire and Performance Masterclass Mary Karen Clardy June 20-22 Vocal Jazz Workshop Jennifer Barnes, Rosana Eckert, Gary Eckert, Greg Jasperce, Michael Palma June 22-27 CLAR-Essentials High School Clarinet Workshop Kimberly Cole Luevano, Daryl Coad, Deborah Fabian, John Scott June 25-28

Jazz Combo Workshop Mike Steinel, Brad Leali, Rodney Booth, Stefan Karlsson, Lynn Seaton, Fred Hamilton, Steve Wiest, Ed Soph and more.

July 13-18 Middle School/Jr. High Honor Choir Camp Alan McClung July 16-19 Mariachi Summer Camp Donna Emmanuel July 22-26 Piano & Organ Wellness Sheila Paige July 25-Aug. 2 Alexander Technique Phyllis Richmond August 2 String Orchestra Day Camp (Grades 5-12) TBA

Texas High School All-State Choir Camp Alan McClung July 9-12

Marching Percussion Camp Mark Ford June 16-19

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

www.music.unt.edu

Diversity & Artistry

By Matthew Hinsley and Travis Marcum

O

Besides proper playing position, ensemble etiquette, developing great tone, reading ensemble music, developing their ear for pitch, tone, and memorization skills, the students are finding a real passion for performance and the enjoyment of playing beautiful ensemble music that is relevant.”

In 2001, Austin Classical Guitar (ACG) began work in education and outreach by assisting what at the time was the only classical guitar class in Austin ISD. Fifteen students were enrolled. In the years following, ACG developed and published an extensive online teacher resource that is used in hundreds of locations internationally, and helped build and sustain more than 40 school programs in Austin alone. There are currently more than 2,000 elementary, middle, and high school students in rigorous forcredit classical guitar courses in Austin schools.

While the curriculum is meticulously framed around a TEKSaligned technical and musical sequence, our guiding principle is that students are led to confident, expressive, beautiful musicmaking from the very first day of instruction.

In a recent letter, Leeann Atherton, 2012-2013 Teacher of the Year at Pease Elementary School (one of our newest AISD education partners), wrote: “My fourth-grade students are developing great musical skills through the study of classical guitar.

The backbone of our programming relies on a curriculum we began developing in 2004, which was published online in 2008 (found at GuitarCurriculum.com). This curriculum provides an ensemble-based approach much like band, orchestra, or choir.

Students engage in communal, technically-sound music-making with a focus on expression and refined performance from day one. Our directors build a solid foundation of technique and artistry from the podium. Students perform a wide variety of guitar ensemble repertoire from Renaissance arrangements to original modern compositions, each piece sequenced to challenge the individual student and ultimately lead to successful, joyful, refined music-making. In addition to successful ensemble experiences, most students begin working on solo repertoire in and out of the classroom as early as the first semester. The efficiency of teaching from the podium allows each student to transfer technique, expressive execution, and practice habits to their solo pieces.

One of our biggest early challenges was creating appropriate solutions for classrooms consisting of students at different levels. In developing our library of stylistically varied ensemble music, we asked composers to write multiple iterations of

ffering guitar instruction in school can provide students who wouldn’t otherwise participate in an ensemble an affordable opportunity to develop music skills and experience the valuable benefits of making music with friends and belonging to a structured performing group. While some teachers may hesitate to add a performing ensemble to their school’s offerings, we have found that including guitar classes does not reduce the effectiveness of other performing ensembles.

In fact, the opposite has proven to be true.

BACKGROUND & PHIL OSOPHY

18 Southwestern Musician | February 2014

C URRICUL UM

Summer Music 2014

interchangeable parts that could be sortable online. This feature allows instructors to immediately create customized solutions to engage diverse students in meaningful music-making together.

The resource also includes UIL-

aligned graded ensemble sightreading exercises and theory worksheets, improvisation lessons, and exam components relating directly to the ensemble repertoire at each stage of graduated student development.

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“Some of the challenges around implementing a classical guitar program have centered on creating a rigorous curriculum and establishing high expectations for teachers and staff,” said AISD Director of Fine Arts Greg Goodman. “With the assistance of Austin Classical Guitar, we have established high expectations for our schools following the framework established by UIL in band, orchestra, and choir.”

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Over the past 10 years, AISD and Austin Classical Guitar have grown a tremendously successful guitar community through education in the public schools.

The foundation for this success has been a set of clear expectations for what a high-quality guitar program should look and sound like as well as a clear path for instruction.

On a large scale, we measure success by the number of guitar programs consistently performing beautifully in the community. We have the vast majority of programs participating in adjudicated concert and sightreading events and hundreds of students performing for UIL and AISD solo and ensemble events. With each of these large-scale assessments, there are thousands of individual stories from students who would never have picked up a musical instrument if guitar were not offered at their school.

The stories of personal success and transformation are astonishing. Dean Campbell, a chemical dependency counselor at Travis County’s Juvenile Justice System, where ACG runs an AISDsponsored, for-credit classical guitar program, wrote about one of the participants: Upon entering the program, his motivation for positive change was extremely low.

When offered an opportunity to join the guitar class, he enrolled. His motivation began to snowball and spread to other areas of programming. He went from putting forth minimal effort in school and his drug rehabilitation to becoming a leader by example for his peers. This youth is currently back on track to graduate high school on time and return to his home with a renewed commitment to his family and to himself for a more productive future.

Along with the individual successes, our programs have had milestone successes on a national level. The University of Texas at Brownsville hosts the premier

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national guitar ensemble competition for secondary schools, with contestants from all around the United States. Our guitar program began in AISD’s McCallum HS, and their advanced ensemble has won the high school division of the UT/ Brownsville competition seven consecutive years. Middle school division winners include AISD’s Martin MS, Fulmore MS, and Lamar MS. In addition, two of our programs have been honored to perform as the “Featured Youth Ensemble” for the Guitar Foundation of America annual international competition and convention.

TRAINING & SUP PORT

Our first national teacher training was hosted in August of last year by Robert Duke and the Center for Music Learning at the University of Texas at Austin Butler School of Music. Sixty-five educators from 10 states and one from Nicaragua attended the three-day training. Culminating in a performance by all participants, many of whom had not ever played guitar before, the training led the educators through the early curriculum levels while also providing opportunities

for practicum teaching.

Often traveling elsewhere as clinicians, in Austin the ACG Education team is in the field about 150 hours per week assisting teachers throughout the district. Eric Pearson, ACG Director of Community Guitarists said, “I have been thrilled and sometimes surprised to see how well non-guitarist teachers have done in creating successful classrooms. Choir, band, and orchestra teachers bring great musical knowledge, classroom management skills and teaching approaches and have greatly advanced the community of guitar ensemble directing. My challenge has sometimes been not in teaching specific guitar techniques and performance practice, but convincing them not to shy away from using approaches from their more traditional ensembles.”

With more than 500 affiliated teachers worldwide, ACG saw a need to create an online library of tutorial and benchmark videos for teachers to reference—especially for those in areas without a classroom guitar teaching community. The library now contains about 50 videos on a range of topics from fundamental tech-

niques, to demonstrations, to teaching philosophy and approach. These resources are available at GuitarCurriculum.com.

K EYS

TO

SUCCESS

The most important ingredients for success are high expectations for teacher and students and a rigorous, well-constructed curriculum. The evidence is now abundantly clear that highachieving classical guitar ensembles, with the same pedagogical benefits expected of any high-quality school-based music program, are achievable in diverse schools with diverse populations. Regular performances, all-city festivals, concert and sightreading contests, UIL solo and ensemble contests, and other evaluative or competitive measures help encourage a culture of excellence and achievement throughout the district.

As an outside nonprofit organization with a presenting arm of our programming, ACG partners extensively with the district to involve students in worldpremiere performances of newly commissioned works, collaborations with other students and with professionals,

INNOVATE WE’RE LOOKING FOR FORWARD THINKING ARTISTS.

music.cmu.edu Southwestern Musician | February 2014 23

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and performances for thousands of audience members prior to major events throughout the year.

A STUDY

In 2009 the University of Texas School of Social Work conducted a social impact study on the programâ&#x20AC;&#x2122;s effects on students in three schools. The study, under the direction of Dr. Calvin Streeter, utilized the measurement technique Concept Mapping that seeks to accurately relate the effect of a program using recipientsâ&#x20AC;&#x2122; own words.

From the 67 student statements collected, we learned a number of interesting things about the effectiveness of a guitar program. One of the more interesting aspects was that teachers and students alike ranked self-esteem as the most important concept overall. Response examples included, â&#x20AC;&#x153;I like playing in front of people,â&#x20AC;? â&#x20AC;&#x153;Itâ&#x20AC;&#x2122;s given me more confidence,â&#x20AC;? â&#x20AC;&#x153;It gives me a feeling of accomplishment,â&#x20AC;? and â&#x20AC;&#x153;I feel proud of myself.â&#x20AC;? Researchers termed another highly ranked concept â&#x20AC;&#x153;Unique Learning Environment,â&#x20AC;? and included such statements as: â&#x20AC;&#x153;This class has more interaction with the teachersâ&#x20AC;&#x201D;everyone gets attention,â&#x20AC;? â&#x20AC;&#x153;Itâ&#x20AC;&#x2122;s okay in this class if you donâ&#x20AC;&#x2122;t understand,â&#x20AC;? â&#x20AC;&#x153;I like that we play in pieces or sectionsâ&#x20AC;&#x201D; so we are all needed,â&#x20AC;? â&#x20AC;&#x153;Everyone messes up in this class sometimes, so it doesnâ&#x20AC;&#x2122;t feel bad to mess up in this class.â&#x20AC;? It was great to see improved self-esteem and feelings of belonging and safety in music classâ&#x20AC;&#x201D;concepts music teachers know to be natural results of great music educationâ&#x20AC;&#x201D;reflected so clearly in this independent research.

BUILDING

A

PASSION

FOR

MUSIC

We sometimes encounter concerns that guitar programs will in some way reduce participation in existing music programs.

In our experiences, we have not found this to be true. For example, fifth-year guitar teacher at Fulmore MS Meredith McAlmon wrote, â&#x20AC;&#x153;Having a guitar class has not hurt other Fulmore performing ensembles in terms of numbers, as I have guitar students who also participate in band, orchestra, and choir. Classical guitar at Fulmore has been a unifying force, as students from across all ethnic and socioeconomic levels participate in the classical guitar program.â&#x20AC;?

In our most recent student poll, we

Teacher training session led by ACG Assistant Director of Education Jeremy Osborne. found that 90% of students in guitar classes had not been taking any music elective the semester before.

In some cases, benefits of classical guitar class have been dramatic. We are in our third year working with Susan Rozanc at Austinâ&#x20AC;&#x2122;s Travis HS who wrote, â&#x20AC;&#x153;I have seen this curriculum not only serve as a very solid foundation for musicianship but it has ignited a real love for the instrument and a desire to achieve an extremely high level of musical artistry. I have been a classroom music educator for nineteen years. In that time, I have taught orchestra, choir, band, music theory, and musical theater. Never in my career have I seen students so on fire for music as I have

seen with my students studying classical guitar.â&#x20AC;?

Matthew Hinsley is ACG Executive Director and author of Classical Guitar for Young People and Creativity to &RPPXQLW\ $UWV 1RQSURĂ&#x20AC;W 6XFFHVV 2QH Coffee at a Time. Travis Marcum is ACG Director of Education and Outreach and a PhD candidate in music and human learning at the University of Texas Butler School of Music. Since 2005 they have collaborated as lead authors of the ACG classroom curriculum available at GuitarCurriculum.com.

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An impact of a lifetime B Y

R O N N I E

R I O S

I

t’s not about the cars, the house, the bank, the diamonds or gold, even the trophies—that’s just stuff. It’s about the relationship with our faith, the relationship with our family, and the impact we have on other people. This incredible profession of band teacher offers us the vehicle to make a very positive impact. This can be our biggest gift to humanity.

Yes, at the end of the day, it will always be about inspiring and motivating people. Our presence, our spirit, and our expectations in our band rooms are the ingredients that cause students either to work hard for us or not. If their efforts are golden, that’s a pretty good sign our impact might be lifelong. Just look around the band room and you’ll know what your reality is.

I’m not an expert on the topic of mentors, but what I can tell you is that I often find myself reacting to common issues in my band hall exactly like I have observed others react. I also find myself sharing with others (often my own staff) how Bryce Taylor organized a band rehearsal, how Philip Geiger tunes the third of a chord, how Rolando Molina promotes the glorious sound in music, or how Tom Shine creates objectives for students. The list goes on with numerous people who have influenced me. We all have these lists of people in our minds.

The fact is, these are all master teachers who have had a profound impact on me. My observations of their actions are implanted in my mind. They have made a definite impact on me and have made my road to excellence so much easier. We don’t have to reinvent the wheel in this profession; someone before us has already overcome the same challenges we face. And the moment we mention the name of one of our previous teachers or other influential person, we offer to the world how much of an impact these individuals have had on us.

Because of our incredible profession, we enjoy this same opportunity to leave a

BAND NOTES IN MEMORIAM BRUCE WILLIAM K ENNER January 31, 1951–December 10, 2013

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

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

April/May—Attend your spring Region meeting.

April–June 1—Submit clinic proposals for the 2015 TMEA Clinic/Convention.

As music educators, we enjoy the opportunity to leave a substantial impact on those we encounter.

Southwestern Musician | February 2014 27

substantial impact on those we encounter.

With this mindset, we have the ability to positively mold the mood of every situation we encounter. What a gift! We can create the greatest atmosphere in all our programs. I am convinced our daily actions can be the best way to display this concept. My best to you as you work to be a positive influence on your students in every situation that arises.

Honor Band March 1 is the deadline to enter the Honor Band process for all 1C, 1A, 3A, and 5A bands. More information on judges, dates, sites, hosts, and chairs will be posted online at www.tmea.org. I encourage all band directors to enter!

2014 Clinic/Convention Update Please attend our Band Division Business Meeting during the convention on Thursday from 5:15 to 6:15 P.M. in CC Ballroom B. You won’t want to miss the address by Tim Lautzenheiser, election of your new Band Vice-President, and President-Elect support speeches.

If you preregistered, your badge will be ready on the Preregistered Badge Pickup

side by last name. If you didn’t preregister, you can register at the convention. If you plan to use a purchase order, ensure it is official, signed, and for the accurate amount based on what you plan to purchase (membership renewal, registration, audio files, etc.). Otherwise you will have to pay using your own funds.

Keep in mind that if you will register on-site for the Wednesday TI:ME Technology Preconference, it is a separate fee that cannot be paid concurrently with your TMEA registration, and purchase orders cannot be used. Review the fees listed on the Convention Registration page found at www.tmea.org/convention.

Audio Files There’s just no way to take in everything our convention has to offer, so I encourage you to take time with other teachers from your campus or district who are attending and make a plan for clinic attendance. After you return home, you can share knowledge from the different sessions you attended. Purchasing access to audio files available after the convention is another way to learn from the clinics you couldn’t attend. For more

information on ordering this access, go to www.tmea.org/audiofiles.

Online Personal Schedule and Convention Mobile Guide If you haven’t already, be sure to create a convention schedule online so that you have completed the first step in creating your Continuing Professional Education record. The personal schedule allows you to search for clinics, print your schedule, and save it to change it later. Know that starting February 1, handouts provided by clinicians will be available online to TMEA members who can access the convention personal schedule.

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

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

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Southwestern Musician | February 2014 29

CELEBRATING 100 YEARS OF TEACHING MUSIC at The University of Texas at Austin

N MENUHIITION ET COMAP USTIN, TX

2014

FRIDAY FEBRUARY PM Opening Concert Long Center UT Symphony Orchestra Gerhardt Zimmermann, conductor with Anton Nel, Ilya Gringolts, Olivier Sharlier and previous 1st Prize Winner Kevin Zhu

FRIDAY FEBRUARY PM Junior Finals Concert UT Bates Recital Hall UT Symphony Orchestra Gerhardt Zimmermann, conductor Featuring seven ďŹ nal Junior competitors

CLOCKWISE FROM TOP: Donnie Ray Albert, senior lecturer and internationally-acclaimed opera soloist, coaches choral music student Elizabeth Hunter. Studio performers and music education majors at Butler receive strong support from a world-class collaborative piano program and an active community performance outreach program.

Associate Professor in Music Education Laurie Scott coaches student teacher Jordan Loveland during a lesson with young musicians at UT Elementary School. In 2014 the Butler School launches COMP (Children’s Opportunities for Music Participation), an outreach program.

Made possible by Austin-based investment firm Vista Equity Partners, COMP will provide music instruments and lessons to children in historically underserved communities.

Professor Nathaniel Brickens, head of the UT Trombone Choir, surrounded by his students.

This ensemble will travel March 8-15 to Denmark to perform in Aarhus and Copenhagen with students from the Royal Academy of Music.

The UT Wind Ensemble announces its World Tour, May 18-June 11, with stops in Hawaii, Japan, Taiwan, Hong Kong, China and England.

Catch the ensemble with conductor Jerry Junkin at the Thursday, February 13 TMEA convention concert in the Lila Cockrell Theater at 8:30 pm, featuring Marianne Gedigian on flute and the world premiere of John Mackey’s Wine-Dark Sea: Symphony for Band.

Maestro Gerhardt Zimmermann and the UT Symphony Orchestra in Bass Concert Hall at the premiere of Pulitzer Prize winner Kevin Puts’ concerto How Wild the Sea. UTSO will be highlighted in February at the Menuhin International Violin Competition.

Photos by Daniel Cavazos, Nathan Russell, Sandy Carson

SATURDAY MARCH PM Cleveland Orchestra presents Lemony Snicket: The Composer is Dead!

Long Center Free tickets available to TMEA student participants

SATURDAY MARCH PM Senior Finals Concert Long Center Austin Symphony Orchestra Peter Bay, conductor Featuring four final Senior competitors

SUNDAY MARCH PM Closing Gala Concert Long Center Cleveland Orchestra Giancarlo Guerrero, conductor With Arabella Steinbacher, violin

More info at violinatx.org

Inspire and be inspired B Y

C R A I G

T

N E E D H A M

o inspire our students, we must be inspired ourselves.

I’m always grateful contest season begins in earnest after the Christmas break. Inevitably, I limp to the end of the first semester exhausted, overwhelmed, and slightly burned-out from the daily routines, performances, fundraisers, and paperwork. Creativity is eroded by stress, and in these moments, it’s a challenge to connect with my primary job of being an inspired musical leader of young musicians. The time away from school provides the perfect opportunity to recharge and refresh. I usually enter the new year with a sense of purpose and optimism, with spring contests providing motivation and focus.

While a break can provide a renewal of spirit, I believe we need more than time away from the podium to keep our passions stoked.

For me, this past fall semester was a brilliant reminder of the need to be inspired and renewed. A difficult semester of changes and additional duties left me with the director’s version of writer’s block. I simply could not come up with inspired ideas for my daily teaching and even struggled to select literature for my groups. I could paste on a smile and fake it fairly well in front of my students, but my teaching was mostly mechanical, and I didn’t enjoy much of what I was doing. Almost in an instant, however, I snapped out of my funk. What changed for me was attending the Midwest Clinic—it was the antidote to my struggles.

The trip to Chicago not only provided a change of scenery and a change in routine, it allowed me to be surrounded by inspired musicians and witness inspired performances.

On this trip I attended a Chicago Symphony concert; went to clinics by the

ORCHESTRA NOTES IN MEMORIAM K ARAN A NNE PITTS October 9, 1947–January 8, 2014

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

March 1—Texas Music Scholar application available online.

April/May—Attend your spring Region meeting.

April–June 1—Submit clinic proposals for the 2015 TMEA Clinic/Convention.

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

Spending time around inspired and creative musicians will promote inspired and creative behavior in each of us.

Southwestern Musician | February 2014 33

YOU CAN BE A LOT OF

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likes of Jeff Grogan, Kathleen DeBerry Brungard, and Richard Floyd; engaged in conversations with Dan Long and Larry Livingston; and watched fantastic student performances by our five invited Texas orchestras and many others. Instantly, my perspective changed and creative thoughts began to flow. I wrote down lists of ideas that had been lying dormant in my mind. I began to feel passionate about getting back to what I love doing and excited about teaching my students this spring. The lesson I learned applies to us all. Spending time around inspired and creative musicians will promote inspired and creative behavior in each of us.

We are blessed to have great conventions in our own backyard twice a year.

If you are not taking full advantage of the TMEA and TODA conventions, you are missing out on two of the great treasures of our industry.

What about the time between conventions when we need a motivational spark?

I have found motivation and inspiration happen best when we spend time with great musicians. When we judge, clinic, and watch other conductors, we have the chance to experience something special that can motivate us to greater things.

When we perform on our instrument or attend concerts, it reminds us of why we chose this profession.

The simple fact is we need to be around great musicians if we want to be great ourselves. If you want to be an inspired teacher, seek out and learn from inspired musicians. When you get a chance to be a clinician or presenter, you have the opportunity to be an inspiration to others.

I encourage you to invest in these sorts of activities to stay sharp, current, and motivated.

As you progress through this contest season, find opportunities to gain inspiration from others. In your own teaching, use the standards of the contests to motivate you, but make your teaching more about a quality musical experience than a rating. If you inspire your students and teach with passion, the ratings will take care of themselves!

At our upcoming convention, you’ll definitely have a multitude of opportunities to become inspired. In previous issues, we have featured our Honor Orchestras that will be in performance, and here you can learn about our invited university orchestra. Be sure to make time in

your convention schedule to attend these incredible, inspirational and educational events! Go to www.tmea.org/convention to access the online searchable schedule.

Baylor Symphony Stephen Hyde, Director The Baylor Symphony is dedicated to the quality performance of orchestral repertoire and to the professional and artistic growth of its members. In a typical year, over 110 Baylor students, hailing from two dozen or more states and several foreign countries, perform in the ensemble. The

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Baylor University Symphony Baylor Symphony has an extensive performance schedule on- and off-campus, annually presenting four to six concerts of standard orchestral repertoire, a full opera production, and other events such as concerto accompaniments, new music readings, and choral/orchestral collaborations. The orchestra also presents a series of children’s concerts each year to an audience of over 6,000 Waco-area schoolchildren, an annual unbroken tradition since 1946.

This will be the eighth time the Baylor Symphony has performed at a TMEA Clinic/Convention under the direction

of Stephen Heyde. Other notable performances of the Baylor Symphony include a December 2003 PBS special, “Christmas at Baylor,” that aired nationally in over 350 markets with an estimated audience in excess of six million viewers; a performance at the prestigious Piccolo Spoleto Festival in Charleston, South Carolina; and a performance at a national convention of the American String Teachers Association. The Baylor Symphony was privileged to accompany the last public performance of revered violinist Joseph Gingold and has worked with a number of distinguished American performers

including, among others, Robert Shaw, Corey Cerovsek, Jacob Druckman, Lorin Hollander, and Peter Schickele.

The Baylor Symphony has taken international tours of Costa Rica (2004) and the Flanders region of Belgium (2010) and this year received a Special Judge’s Citation for Technical and Musical Excellence from the American Prize. In January, the Baylor Symphony will be one of two collegiate orchestras selected through a blind audition process to perform at the National Conference of the College Orchestra Directors Association.

Southwestern Musician | February 2014 37

Successful Ensemble Classes in the Inner City

By Beth Poquette Drews

38 Southwestern Musician | February 2014

A

successful performance program in an inner-city school can offer students music-making experiences and can open up their world in ways that might not otherwise have been possible. Successful inner-city programs teach students what an ensemble should sound like, how to reach expectations in preparation for performance, what it means to perform as part of a community, and how to act in artistic settings. The path to a successful urban performing ensemble emphasizes exploration, expectations, and experience.

arriving at the concert hall. Keep a supply of neck ties to loan or give to male students. In addition to teaching students about ensembles, the experience of exploring evening performances empowers students to become future arts patrons.

Expectations Classroom management and student achievement are often considered to be the greatest challenges of the inner-city classroom. These challenges can be overcome by setting clear expectations for classroom procedures, behaviors, and objectives.

For example, the procedure for many ensemble classes upon entering the room is to get out your instrument and warm up.

This procedure seems obvious to a trained musician but can be confusing to students. Some students will interpret this to mean talk to their friends in the instrument storage closet until the director chases them out and then play glissandos for the entire warm-up period.

To ensure a chaos-free and productive warm-up, provide a checklist. Listing each step for entering the room (or any other procedure) is called chaining. For several of my less organized students, I have found that chaining helps get them into a routine and mindset to work. Don’t hesitate to list what seem to be very small or insignificant steps. Just because something is obvious to you doesn’t mean it will be to them. In addition to “get out your book,” I included the step of “put music on the stand,” because some students have tried to hold their music with their feet or put it on the chair next to them. This simple statement has saved me many minutes of redirect regarding book or music placement.

Post the checklist in your room and insert copies of the list in page protectors in their music binders. Students can then check off the steps daily with a dry-erase marker.

Some students also need intervention and guidance to help meet the procedural and behavioral expectations of the class.

Using an expectation chart can help clearly communicate class expectations to the students and allow you to chart their progress in trying to obtain these goals. I don’t use this for every student

Exploration Students need to be taught the characteristic sound of their instruments or voice and the function of a performing ensemble in the community. Many urban students are trapped in what I call an ABSBA circuit: Apartment–Bus–School–Bus–Apartment.

Their exposure to their community is limited to television at home and the walls of their classrooms at school. Because of the isolation inherent in the ABSBA circuit, many students do not know the characteristic sound of an orchestra, marching band, concert band, choir, or chamber ensemble. They are also unaware of the purpose of ensembles and how they function as part of their community. If students do not know what they are supposed to sound like, the purpose for making the music, or expected behaviors in an artistic setting, they will have difficulty making progress toward the goals we set.

Take students on field trips to a variety of community performances. Exploring your area’s ensembles will give students an understanding of the characteristic musical sounds and the function ensembles serve in the community. Start by teaching concert etiquette in class and what behavior is expected at different types of concerts. When arranging tickets to a concert, I recommend taking groups of 30 or fewer. If there are more than 30 in your ensemble, take multiple concert trips to provide the opportunity for everyone to attend. Discuss the length of the performance with the students to help them prepare for the event. I have taken groups of 30 inner-city middle school students to performances of Mahler, Stravinsky, and Bruckner at the symphony, Carmen at the opera, and the entire Nutcracker ballet. Not only are the students well behaved, they are enthralled by the experience.

Take students to a variety of performance genres. Often there are youth concerts to introduce elementary-aged students to various ensembles and some professional organizations open their dress rehearsals to 25 28 middle and high school students to attend.

Most performing arts organizations have an 2 0 1 4 education director who can help find opportunities for your students.

I believe the greatest impact is made by taking students to a regular evening performance. Students not only hear the sound “Best all-state choir camp I’ve ever of the ensemble but also learn how it fits been to!!! We got to meet new people into the fabric of the community. Be sure and do what we love to do.” to set expectations for behavior and for dress. Despite initial protests on dress code, students have often expressed how grateful they were to know what to wear when

-

Southwestern Musician | February 2014 39

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Guitar Percussion Piano Strings Voice Woodwinds Brass Music Technology

Example: Daily Expectations for Orchestra/Guitar

Procedures

Date: 1/13–1/17

Places backpack under chair

Mon

Tues

Wed

Thurs

Fri

Participation

Mon

Date: 1/13–1/17

9

Plays songs as directed

9

Gets out instrument and book

9

Keeps head up and stays alert

S

Places closed case beside chair

NA

Puts music on stand

9

9

Basses stand in assigned area / violin, viola, cello, guitar sit in assigned seat

Writes comment on comment cards instead of sharing with others

9

Follows directions the first time given

S

Begins playing bell ringer or assigned warm up sheet

9

S

Helps clean up

×

Keeps instrument and voice silent while teacher is giving instructions

but for those having particular trouble meeting expectations. The idea is for you to mark the chart and share it with the students during instrument pack-up time at the end of class.

In the charts above, a 9 means meets expectation; an S means sometimes meets expectation; an × means did not meet expectation.

The participation (or behavior) section needs to be voiced in a positive manner. For example instead of writing “Don’t Sleep in Class,” it should be “Keeps head up and stays alert.” The reason for the wording is twofold: it reinforces positive behaviors when you review the chart with the student, and for parent conferences it demonstrates that you are looking for and keeping track of

Tues

Wed

Thurs

Fri

things their child is doing right. These are a few tips for implementing a chart like this: • Keep one standard chart for your classes. This will make marking the chart faster for you. If a box doesn’t apply, simply write NA. • Older students might laugh or roll their eyes at the chart, but they’ll also be upset if they don’t get good marks.

• Remember to review the chart with the student, perhaps during pack-up time at the end of the period. It is important to review that chart even if the student appears to be indifferent.

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Southwestern Musician | February 2014 41

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

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• As with everything, change happens over time. This chart is a form of intervention. Don’t give up even though it may seem like one more piece of paper with which to keep up.

For some students it will modify their behavior in just a week, for others it is a way to gather helpful data to help find the best learning environment for that child.

• Don’t be afraid to give them an S for Sometimes. It is meaningful to the students that you noticed their effort to meet the expectation even if they fell short.

• Chart only the most important expectations under the participation section. Too many expectations will make it difficult for the student to focus on modifying their behavior and will be difficult to assess. You may find that over time you want to change your chart as students begin to consistently meet expectations in an area but need help in another.

However, let the student see the consistent success before changing the chart. Everyone likes to know they are doing a good job.

• Avoid using the word quiet. Whereas to a teacher, quiet often means silent, to a student it often means whisper softly.

Experience The third step to a successful performance ensemble is to provide performance opportunities for your students—they need to be able to share their music with others. Often we limit our students to two concerts a year—one in December and the other in May, and in those we play only the music being executed perfectly. While formal concerts are an important experience for our students, there are other opportunities for students to have meaningful aesthetic experiences.

Informal foyer concerts and assemblies are a great way to give students an opportunity to perform even when the music isn’t note-perfect. Set up an ensemble in the entrance of the school and play as people enter the building. This may be the only time that faculty, staff, and students of your school hear the ensemble. Volunteer to play at assemblies and PTA meetings. This provides an opportunity for your students to apply the knowledge they’ve learned while exploring the role of musical ensembles as part of the community.

Take your students to music festivals.

Many inner-city students will never receive a tangible acknowledgement (trophy, certificate, or medal) of a job well done. Any given weekend in the spring there are a multitude of music festivals offering the opportunity for your students to earn a school trophy or plaque for their participation. Choose festivals where the emphasis is on celebrating the students’ performances at multiple levels and not just earning first place.

Finally, showcase your students in public performances. This is often nerve-racking for a director; many fear public perfor-

The more inner-city challenges your school faces, the greater the importance for your ensemble to participate in the community. mances because they are afraid of being judged. Remember that it is through public performance that students come full circle to where they were exposed to hearing ensembles perform to now being the performers. Public concerts at city hall, at dedications, in parks, and at other civic ceremonies give students the opportunity to contribute to their community as well as to bring awareness to the accomplishment of these students. The more inner-city challenges your school faces, the greater the importance for your ensemble to participate in the community. It doesn’t just show community members something positive about youth in challenging neighborhoods, but it also shows students that they indeed can be contributing members to their community.

Applying exploration, expectations, and experience to your classroom can be challenging, but the rewards for you and your students are great! Identifying characteristic ensemble sound through exploration, illuminating the path to get there with clear expectations, and sharing what you have learned through experience keep students engaged in your music program.

Beth Poquette Drews is orchestra, guitar, and mariachi teacher at H. W. Lang MS in Dallas ISD.

Southwestern Musician | February 2014 43

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Technology Works for Me: Interactive Lessons for Elementary Students Karen Lowman

E

ven in elementary music, using technology can help engage students in interactive lessons connected to their real world.

Designing those lessons can be challenging, especially with limited resources. With that in mind, the following lesson can be utilized by almost any music teacher, especially if you have a laptop with video capabilities, an iPad, or even just a smartphone.

This lesson is designed to help students complete the TEKS objective of evaluating musical performances and is designed to be collaborated on between two schools. For this lesson each teacher agrees to select one recorder piece that encompasses the notes C, B, A, G, and low D and that will be rehearsed during three music lessons. During this time, the teachers collaborate to create observations that should be made during the performance such as hand position, posture, pitch, note value, beginning and ending rehearsal techniques, movement, and watching the director.

After selecting the observations that should be part of the evaluation, students from one school create a survey and send an invitation to the other school (free survey websites are easily found). The website survey is set up for two schools so students can compare the evaluations.

All students receive a printed copy of the evaluation on the day of the performance. Each school utilizes Skype via the Internet to present their recorder performance to the other. After the performance, students access the survey online and input their evaluation. When students arrive for the next music class, the teacher presents the survey results and asks students to make comparisons between the schools.

The outcome of this lesson is that students see others from their district learning the same concepts and having similar problems and successes. More importantly, they have to utilize critical-thinking skills, develop academic conversations, and collaborate student-to-student and student-to-teacher with interactive learning. Additionally, they read and write across the curriculum and increase their technology exposure, and teachers can easily assess for learning. As you can imagine, this lesson works well for a large group. But what about incorporating technology in a lesson that students can use at home?

My fifth graders needed to complete the TEKS that covers creating their own music. They utilized our five grade-level iPads and accessed the GarageBand app. This app allows students to choose different instrumentation and overlap the recording to 46 Southwestern Musician | February 2014

create music without written notation but with instrumental sounds, chords, individual tones, and a rhythm section. The objective of this lesson was to create a minute-long composition using a minimum of five instrumentations.

Allowing the students to explore the app without instruction would have been the best scenario; however, because of limited access to the iPads, the logistics of using GarageBand were explained through whole instruction using a projection system.

Some students already knew how to use the app because they have access to it on a tablet or smartphone at home.

Time was allowed for questions, and then students were divided into groups of five or six. Groups immediately began to lay the foundations of their compositions. The difficult part of this process was negotiating their preferences. After completing this process, students were asked to give the song a title, save it on the iPad, and allow other students and me to listen and critique.

Like the first lesson, students were able to complete the TEKS objective, utilize critical thinking, develop academic conversation, and dialogue between one another. This was an excellent opportunity for students to take charge of their own learning about creating music.

When we begin to embrace technology in the music classroom, doors open to interactive learning, meaningful conversations, and a platform many of these students have been accessing for years. Students entering kindergarten today know how to use applications on smartphones, tablets, and computers; many of their toys include touch screens and computers. They will enter our classrooms more technologically advanced, and elementary music teachers need to be ready.

Karen Lowman is an elementary music teacher at Schulze Elementary in Irving ISD. She previously taught middle school choir, orchestra, and band and is in her 33rd year of teaching.

VOCAL NOTES IMPORTANT DATES February 12–15—TMEA Clinic/Convention in San Antonio.

March 1—Texas Music Scholar application available online.

April/May—Attend your spring Region meeting.

April–June 1—Submit clinic proposals for the 2015 TMEA Clinic/Convention.

May 1—Postmark deadline for the 2015 TMEA Clinic/Convention performing choir application.

Memorization: A fading ability?

B Y

D I N A H

M E N G E R

H

ow many nights have you lain awake hoping your singers study their music and get it memorized?

Have you witnessed a disconnect after students learn a piece pristinely using your methodology and then crumble when transferring to text? Do your choristers struggle more in their attempts to memorize repertoire?

Are memorization tasks even required in current classrooms?

I believe that working on memorization and sequencing of material in our rehearsal halls is beneficial not only in choir but also in other areas of study. Using the gray matter, strengthening synapses, honing listening and retention skills, lengthening attention spans and focus, and working in an environment of like-minded fellow singers build better thinkers. I’ve witnessed this, as I know you have.

Another challenge that affects memorization is the time needed to complete this task. Our singers are pulled in more directions than ever before. Focusing on doing a few things well is often replaced with running from event to event, interest to interest, sport to sport, or job to job. As a choir director of today’s students, we have to be mindful of how they work and carefully plan and execute our expectations for their success.

Singers have a unique set of challenges because, for most performances, they are expected to have all repertoire memorized. This includes songs for a

Create an atmosphere of pride in performance so that your choristers will want to devote the required focus and due diligence to be welltrained lifelong singers.

48 Southwestern Musician | February 2014

fall concert, a winter concert, UIL concert contest, and a spring concert. And this doesn’t address those students who memorize and perform in vocal recitals, and more. Many of these choristers are also band or orchestra members, school and select athletes, actors, serious students, leaders, and employees. How can we directors assist our young choristers in memorizing repertoire that requires several layers of learning without causing them to end up hating the very music we have chosen?

I offer the following memorization tips for your choristers and your sanity based on mistakes I’ve made along the way!

• Plan for plenty of time to memorize.

Don’t get caught making the toolittle-too-late mistake.

• Choose repertoire that makes them want to learn it. As their “palate”

matures, you can introduce more advanced literature.

• Give them tiny sections to memorize for a less daunting task and a sense of accomplishment. State your goal at the beginning of these memory assignments so that students can see the finish line.

• Create vocal technique exercises out of harder passages and make no mention that they are excised from repertoire. Use these exercises to enhance vowel work, consonant placement, dipthong treatment, dynamics, tuning awareness, etc. This takes away the mystery of these passages when found in the score.

• Find the bridges. These are the places that help the singer get to the next phrase, section, verse, etc. There are typically shaky sections that cause

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memory slips. Those are the bridges that need to be used and worked on many times in rehearsal. I call them bridges because they help the singer see what’s on the other side (where the music is taking them).

• I have found that singers know more than they think they know by memory. See just how far that is.

Have them face someone else in their section and help each other. Don’t use the word test. Pair the strongest with the weakest.

• Get to the text as quickly as possible.

I have mistakenly waited too long in the past and the song seemed to crumble with the addition of this new element. Understanding text, and how to perform it, requires plenty of time.

• Within sections being worked on for

Schedule of Events Concert and Masterclasses/Workshops to be held in the Clyde H. Wells Fine Arts Center Theater

FRIDAY, FEBRUARY 21 7:30 pm Solo Piano Recital by Cecile Licad Reception following recital General admission $10, Student admission $5

SATURDAY, FEBRUARY 22 9:00 am – 3:30 pm Masterclasses for students by Cecile Licad & Leslie Spotz

For ticket information: Fine Arts Box Office: (254) 968-9634

FEBRUARY 21-22, 2014

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50 Southwestern Musician | February 2014

Festival information: (254) 968-9241 www.tarleton.edu/music www.tarleton.edu/playpiano

Competitive Scholarships & Performance Awards

Audition Dates January 25 â&#x20AC;&#x201C; 26, 2014 March 1 â&#x20AC;&#x201C; 2, 2014 (see website for details)

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Conducting & Ensembles

Music Literature

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

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

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

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

Music Education

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Lois Ferrari Kenny Sheppard

Jason Hoogerhyde Eileen Meyer Russell Kiyoshi Tamagawa

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

Woodwinds, Brass & Percussion Anna Carney, clarinet Patrick Creel, horn Susan Douglas, oboe David Guidi, saxophone Adrienne Inglis, flute Kyle Koronka, trumpet Erin Martysz, percussion Eric Stone Miller, bassoon Eileen Meyer Russell, low brass

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memory, have one voice part sing text while other voice parts use a neutral syllable. Go through each vocal line this way. This not only drills memory but makes singers aware of the other vocal lines and what they sound like.

• Isolate note and chord formulas that are problematic and continue working those places until they are solid.

• Instigate a search-and-rescue mission for syllables of text that shift from one note to another and make sure these places are memorized accurately. Melismatic passages should be included in this mission.

• Having students memorize a foreign language, unless they are fluent, is expecting them to memorize a string of nonmeaningful syllables.

Remember this.

• Record them singing an entire song by memory as time gets closer to performance. Let them hear it. Glaring memory lapses will be evident.

• When you say, “Put your music down,” this should mean keep it open and at the chest. Time is wasted in the literal action of placing music on chairs. In training them for future

choruses, help them with rehearsal etiquette. Having their music available for quick reference speeds up this process.

• “Get your head out of the music and get the music in your head.” I loved this statement when I heard choir director Randy Jordan use it with his adult choir. I stole it, and now I use it all the time. Thank you, Randy!

• Ask your colleagues for their tips on memorization.

We have to be aware of where choir stands in the priority list of our choristers.

Our mentorship, guidance, approachability, clear expectations, and intelligent use of students’ time can serve to make our class a high priority. We all devote more time to what is important to us. Create an atmosphere of pride in performance so that your choristers will want to devote the required focus and due diligence to be well-trained lifelong singers.

2014 Clinic/Convention Update If you preregistered, your badge will be ready on the Preregistered Badge Pickup side by last name. If you didn’t preregister, you can register at the convention. If

Save and update your online personal convention schedule.

www.tmea.org/convention

25-28 2 0 1 4

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you plan to use a purchase order, ensure it is official, signed, and for the accurate amount based on what you plan to purchase (membership renewal, registration, audio files, etc.). Otherwise you will have to pay using your own funds. Keep in mind that if you will register on-site for the Wednesday TI:ME Technology Preconference, it is a separate fee that cannot be paid for concurrently with your TMEA registration, and purchase orders cannot be used. Review the fees listed on the Convention Registration page found at www.tmea.org/convention.

Audio Files There’s just no way to take in everything our convention has to offer, so I encourage you to take time with other teachers from your campus or district who are attending and make a plan for clinic attendance. After you return home, you can share knowledge from the different sessions you attended. Purchasing access to audio files available after the convention is another way to learn from the clinics you couldn’t attend. For more information on ordering this access, go to www.tmea.org/audiofiles.

Do you have students interested in music business?

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

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

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

Texas Music Office, Office of the Governor P.O. Box 13246, Austin, TX 78711 (512) 463-6666 music@governor.state.tx.us EnjoyTexasMusic.com Southwestern Musician | February 2014 53

FOR HIGH SCHOOL MUSICIANS GRADES 9-12 JUNE 22-26, 2014

We invite all high school students who love to sing and who have a desire to advance their technique to join us for the All State Choir Camp at Hardin-Simmons University. Campers will learn ALL of the All-State music, performing a portion during the end of the week concert.

Tuition & Fees

Non-refundable Registration Fee (applies towards tuition) - $50 Dorm Residents, Including Meals - $325 Day Campers, Including Meals - $275 Late Registration (after June 4) - $350 A $100 discount applies for past All-State singers

Register online at www.choircamp.hsutx.edu Or call

(325) 670-1415

For more information contact Dr. Clell Wright | School of Music and Fine Arts | Hardin-Simmons University, Box 16230, Abilene, TX 79698 | choircamp@hsutx.edu

CONDUCTORS Dr. Clell Wright HSU Director of Choral of Choral Activities Dr. Dee Romines - HSU Associate Professor of Choral Music Education CLINICIANS Tara Sikon - Carrolton Creekview High School Natalie Walker - Highland Park High School Aaron Hawley - Permian High School John Tucker - Stephenville High School

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

Across the State, Music Is Sounding a Little Sweeter

Runn Elementary students show off their new instruments.

With grant funding from TMEA, more than 400,000 students across Texas are enjoying more meaningful music-making experiences.

O

ver 400,000 elementary music students across Texas are having a more enriching and rewarding experience in their music classes now that they have new music, technology, instruments, and other instructional materials. TMEA recently awarded nearly $500,000 in grant funding to elementary music programs across the state.

Over 630 elementary music teachers who applied received grant funding, and TMEA completed the entire application process in two months so that teachers could purchase instruments and other educational supplies before year’s end.

TMEA offers its gratitude to the sustaining members who offered our members discounted supplies and free shipping to help them stretch their grant dollars.

We asked grant recipients to share their perspectives about what it means to their programs to have received this funding and how it has affected their students. Hundreds of teachers replied, and their responses underscored the impact of this very important program. What follows are just a few replies illustrating how important high-quality music-making is to students as they begin their musical journey.

Ricardo D. Moreno, Runn Elementary, Donna ISD: My district brought back the elementary music program this year after being without it for more than a decade. I was one of the lucky few students to have benefited from having elementary music when I attended school in this district, and now I’m excited to begin this new music journey with my students! When the school year began, there were no instruments in my room or in the school for that matter. The only instrument was my own portable keyboard.

Now that we’ve received instruments through this grant, the

atmosphere has changed in my classroom. Students always ask me if they’re going to be able to play with the instruments today.

They’re always eager to come to my class and learn more about music. We can only keep growing and moving up from here.

Barbara Day, Tomball Elementary, Tomball ISD: Ours is one of only three elementary schools in our district with accommodations for developmental and severely disabled students. These students remain in their classroom most of the day but do attend music with mainstream classes. We have not had any way of allowing these students to experience playing instruments other than those small enough to be held on their laps. With this grant, we purchased six large tabletop stands. Our students who are unable to sit or kneel on the floor to play the larger instruments can now play any of them with ease. They can now play the “big instruments” like everyone else!

All students can now enjoy playing instruments at Tomball Elementary.

Southwestern Musician | February 2014 55

Students enjoy using new software in music class at Teague Elementary.

Jamie Homburg, Teague Elementary, Pasadena ISD: The students’ knowledge and love for music has grown by leaps and bounds since having added the Quaver program to our classroom! They have found that music class is the place to be, and they cannot wait to come experience music—that is exactly what the TMEA grant has allowed us by integrating the online Quaver curriculum into our classroom. Music is not just a class, but an experience going beyond the students’ expectations each time

they enter my room.

Becky Keisling, Elkhart Elementary and Intermediate, Elkhart ISD: Before we received the funding, students were playing on broken instruments that had been used for a long time, and there were not enough instruments for each student in the class to use.

We’ve used our new materials for the last two weeks, and the students’ reactions have been nothing but extreme excitement. It has been a completely different atmosphere in my classroom. The students have changed from coming in the room discouraged because of the broken instruments to coming in very excited and ready to use the new instruments.

Cheryl Hammer, Dublin Elementary, Dublin ISD: We are a small rural school, and this has given students the best opportunity to play any kind of instrument before joining band. The students who were in my class after the instruments arrived were so excited when I opened the boxes of instruments. I explained to them what TMEA is about and what it stands for. I told them I had applied for a grant and received the new instruments when our campus was awarded the funds. They couldn’t wait to be the first to play them! I included them in our rotation of instruments and most of my students have now played them. Now each student has an instrument to play instead of having to share with one or two others. This has also cut down on behavior problems because they are too busy making music to make trouble.

Kiaran Milam, Borman Elementary, Denton ISD: This grant allowed my students the opportunity to learn about cultures around the world and perform music on percussion instruments that would be used in that culture. This is the first time my fifth-grade drum ensemble has had the opportunity to play on

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High School Band and Orchestra Camp Band Grades 9-12/Orchestra Grades 10-12 June 15-21

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Receiving this funding makes it possible for more students to be able to participate more fully by having the opportunity to play various instruments in class and in afterschool programs. This will help students succeed and hopefully continue in music courses when they leave elementary school.

Sunnie Schuler, Webb Primary Center, Austin ISD: This is our second year since the opening of a brand-new campus. Thus, we are still gathering resources to enrich our campus. We didnâ&#x20AC;&#x2122;t have a single drum that was appropriate for our studentsâ&#x20AC;&#x2122; ages. With the grant, we were able to buy many different drums for our students. Our administrators were pleasantly surprised by this grant to learn that our music educator commuWebb Primary students in nity is indeed eminent. The instruments have action with their newly-acquired drums. already been used and were introduced to the public at our Christmas concert. full-sized drums. I work at a Title 1 school, and my students Emily Modlin, Rufino Mendoza Sr. Elementary, Fort Worth ISD: Because of the generosity of this grant, we now have multicouldnâ&#x20AC;&#x2122;t believe that someone would donate that much money for cultural instruments representing people from all over the world. our drum group! We opened them together, and I could tell the One of my goals is for my students to engage in musical styles students felt like it was Christmas for them! outside of their normal exposure, and the variety of instruments Kindra Garcia, Trevino Elementary, Edinburg ISD: This tanwe were able to purchase (a gong, agogo bells, talking drums, a gible support validates the often overlooked roles of elementary shekere, and many more) will help accomplish just that! music education, elementary music educators, and elementarySara Yancey, Hodges Elementary, Lubbock ISD: We debuted aged musicians. It is proof that TMEA recognizes, values, and our newly acquired instruments at the second- and third-grade cares about elementary students and elementary programs.

58 Southwestern Musician | February 2014

PTA program in December. Here is a glimpse into what those instruments have meant for us: One of our special-needs students was able to play an instrument at the program because of the new bass bar. He had tried playing xylophone but struggled with playing only one note, and there was no time to take them all off and put them back just for him. The bass bar made it simple for him to play. Just to see his face beam while he was playing this instrument was so worth it! I can’t wait to start using the bass bar with my kindergartners as a means for developing their beatfulness as well. The temple blocks have been a great hit, and when students played the wind chimes during the program, the response from the parents was amazing!

Erin Evans, Polk/Lundy Elementary, El Paso ISD: With this grant, I will be able to expand the music program at both of my campuses by incorporating more cross-curricular influences through some of the materials I purchased. It also means that my inclusion students, special education students, and AIM students will be able to be involved with their classmates and learn about music in a more hands-on approach. The curriculum acquired through this grant will also assist me in creating meaningful lesson plans and will ensure students get the maximum involvement and results from each lesson. This will enable them to continue in their education having a sound foundation in music through their elementary school program.

Teresa Kile, O. H. Stowe Elementary, Birdville ISD: By adding two more xylophones to my room, this allows more students additional chances to experience music. When I first received the xylophones, I immediately revised my lesson plans. I found an

Meyer Elementary students display their new supplies. old harvest festival song, “Hag Shavuot,” and I taught students the rhythm on the xylophones. I then began selecting students who had the rhythm down. The competition became fierce in their effort to have a turn playing the xylophones. It was amazing how fast their learning has progressed, and the students are very respectful of the instruments in their care.

Phyllis Janke, Meyer Elementary, Lamar Consolidated: Our students thought Christmas had come early when they saw our new handbells and Boomwhackers. They simply love to experiment with these instruments and cannot wait to come to their music class just to see what we will be doing next!

Lamar University 2014 Music Auditions Saturday: December 7, 2013 • March 1, 2014 • April 26, 2014

Contact Scott Deppe

to schedule your audition. scott.deppe@lamar.edu For more information, Contact Lamar University Mary Morgan Moore Department of Music

P.O. Box 10044 Beaumont, TX 77710 (409) 880-8144

www.lamar.edu/music Southwestern Musician | February 2014 59

Master of Music in Kodály Pedagogy and Kodály Certification Summer Program 21st Consecutive Summer July 7–23, 2014 Levels I, II, III Workshop Cost: $350 For more information, contact: Lisa Roebuck, Registration Assistant lisa_roebuck@roundrockisd.org or Patricia Moreno, Program Director patricia.h.moreno@austinisd.org

This course offers an expertly researched, thorough and practical sound-to-symbol approach to transforming curriculum goals into tangible, achievable musical objectives and effective lesson plans. Kodály at Texas State aims to enable music instructors to initiate their students into the many dimensions of musicianship that are common in both the aural/oral and written music traditions, such as: t Students as Performers: Performing music through singing, movement, playing Orff instruments and recorders in the music classroom t Students as Critical Thinkers t Students as Creative Human Beings t Students as Informed Audience Members t Students as Stewards of their Cultural Heritage REASONS TO ATTEND: Affordable; OAKE-endorsed; study with leading international experts; children’s choir; 90 hours CPE credit; dorms available FEATURING: Solfège, Conducting and Pedagogy Faculty: Dr. Philip Tacka and Dr. Michael Houlahan, authors of Kodály Today and From Sound to Symbol (Oxford University Press) Materials Faculty: Ms. Gabriela Montoya-Stier, author of El Patio de Mi Casa (GIA Publications) This comprehensive course is a valuable tool for all in-service and pre-service music educators, graduate students and choral directors.

music.txstate.edu/prospectivestudents/Kodaly.html Texas State University is a tobacco-free campus.

Lights, camera, convention!

B Y

C O L L E E N

R I D D L E

I

t’s almost here! After months of anticipating the most exciting, comprehensive, educational, fun-filled music convention in the nation, our 2014 TMEA Clinic/ Convention is just around the corner. The TMEA staff and Executive Board have worked diligently to bring you meaningful sessions, inspiring concerts, a record number of exhibitors, and much more this year. I encourage you to take an afternoon or evening in these final days to create your personal schedule online at www.tmea.org/convention. Also, check out the clinic session notes at the website to learn more about each session (available to members as of February 1). I love to curl up with my convention issue of the SOUTHWESTERN MUSICIAN when the house is quiet and highlight all the sessions and concerts I want to attend. Then I enter my schedule online and I’m ready to start packing!

Here are some hints to make this your best convention ever:

ELEMENTARY NOTES IMPORTANT DATES February 12–15—TMEA Clinic/Convention in San Antonio.

March 1—Texas Music Scholar application available online.

April/May—Attend your spring Region meeting.

• Download the mobile convention guide: This app will enable you to have the most up-to-date convention information.

April–June 1—Submit clinic proposals for the 2015 TMEA Clinic/Convention.

• Check the most recent schedule: Session times, room numbers, or other changes may have been made to the schedule.

June 15—Postmark deadline for the 2015 TMEA Clinic/Convention elementary performing choir applications.

• Don’t miss our featured clinicians: Christopher Roberts and Roger Sams will delight and inspire you! This is your opportunity to attend sessions from

Before leaving for San Antonio, take some time to plan how you will spend your time so that you can make the most of your experience.

Southwestern Musician | February 2014 61

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• Attend the Elementary Division concerts: Our 2014 TMEA elementary choral and instrumental ensembles are again outstanding this year. Support our performing groups and gather ideas for your own school programs.

• Have those purchase orders ready: TMEA vendors offers significant discounts at convention. Have your district purchase orders ready to make the most use of your music funds. You will also save shipping costs by picking up

your items personally.

• Check out sessions in other divisions, including TI:ME: If you have a particular interest, such as improving your directing skills, check out sessions in the other divisions. The technology sessions also improve every year, and many apply specifically to elementary music teachers.

• Visit the exhibits: Enjoy the vast array of exhibitors at convention. Many of these vendors gave discounts to our elementary grant recipients. Be sure

to thank them for their discounts and for their support of TMEA. • Attend the Elementary Division Business Meeting on Thursday at 5:15 P.M.: We are so pleased that our keynote speaker this year is John Feierabend.

Make a point to hear his inspiring, motivating words. This will also be your chance to win some amazing door prizes, including instruments and gift certificates from our dedicated and supportive elementary music vendors. Thanks go to Brian Halverson, who always does such a great job of gathering sensational prizes for our drawing. Carol Sullivan and Karen Bryan will return as his lovely assistants!

John Feierabend, Keynote Speaker John Feierabend is considered one of the leading authorities on music and movement development. A professor of music and the director of the music education division at The Hartt School of the University of Hartford, he is a PastPresident of the Organization of American Kodály Educators and a NAfME Lowell Mason Fellow.

Feierabend continues to be committed to collecting, preserving, and teaching the diverse folk music of our country and using that folk music as a bridge to help children understand and enjoy classical music. Feierabend’s research has resulted in two music methods: First Steps in Music, a music and movement program for infants through early elementaryaged children, and Conversational Solfège, a music literacy method for use in general music classes.

Feierabend’s teaching has provided thousands of teachers and their students with materials and techniques to help build community through music by evoking enthusiastic participation of all people.

On-site Convention Registration If you preregistered, your badge will be ready on the Preregistered Badge Pickup side by last name. If you didn’t preregister, you can register at the convention. If you plan to use a purchase order, ensure it is official, signed, and for the accurate amount based on what you plan to purchase (membership renewal, registration, audio files, etc.). Otherwise you will have to pay using your own funds.

Keep in mind that if you will register

64 Southwestern Musician | February 2014

WAYLAND BAPTIST UNIVERSITY

SCHOOL OF MUSIC

Create, Inspire, Grow AUDITION DATES: NOVEMBER 2, 2013 AND MARCH 29, 2014 MAKE AN APPOINTMENT 1-806-291-1074 OR BERRYJ@WBU.EDU WWW.WBU.EDU/MUSIC Wayland School of Music Faculty Conducting & Ensembles Hyung Chae: International Choir, Praise Ensemble Lab Debra Buford: Wayland Singers, Choral Performance Lab Timothy S. Kelley: Symphonic Wind Ensemble Anthony King: Pioneer Marching Band Joseph Vandiver: Jazz Ensemble, Pep Band Boyce Wyrick: Chamber Orchestra

Vocal Studies Kimberly Brown Samuel Brown Brian Kuhnert

Keyboard Gary Belshaw Richard Fountain Jennie Hsu

Virtual Campus Douglas Brown Jennifer Brown Tammie Burger

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

Music Education Debra Buford Timothy S. Kelley

Instrumental Faculty Pat Brown: guitar .LPEHUO\ +XGVRQ Ă&#x20AC;XWH Timothy S. Kelley: low brass Anthony King: percussion Sandra Mosteller: clarinet, sax Michael Newton: cello Joseph Vandiver: high brass Boyce Wyrick: bass Kevin Young: tuba

The School of Music at Wayland Baptist University is an accredited institutional member of the National Association of Schools of Music.

on-site for the Wednesday TI:ME Technology Preconference, it is a separate fee that cannot be paid for concurrently with your TMEA registration, and purchase orders cannot be used. Review the fees listed on the Convention Registration page found at www.tmea.org/convention.

Elementary Music Grant Congratulations to our Texas elementary music teachers who were awarded a TMEA Elementary Music Instructional Support Grant! Thanks to this generous grant program provided by TMEA last October, 635 Texas elementary music teachers were awarded a total of $480,000 in grant funds to use in their music classrooms. Music teachers from all over the state each received up to $800 to purchase instruments, equipment, laptops, and other supplies for their music programs.

Every teacher who successfully completed their application received funds.

Thanks go to the many teachers who went the extra mile to complete the application process for this vital grant.

Our sincere gratitude also goes to

the numerous vendors (TMEA sustaining members) who offered discounts for products purchased with TMEA grant funds. This support from TMEA and from its sustaining members bolsters the

belief that elementary music programs are crucial in our schools and in the overall education of our students. Read more about some of our recipient’s stories highlighted on page 55 of this issue.

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Southwestern Musician | February 2014 67

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COLLEGE NOTES IMPORTANT DATES February 12–15—TMEA Clinic/Convention in San Antonio.

April/May—Attend your spring Region meeting.

April–June 1—Submit clinic proposals for the 2015 TMEA Clinic/Convention.

Convention countdown B Y

K E I T H

D Y E

I

t is just a matter of days until most of us converge on the San Antonio convention center for a convention that offers more opportunities for professional development and inspiration than any other! I would like to take this opportunity to issue some final reminders regarding important proceedings and some modifications within the 2014 convention schedule. Please, consider planning to attend the following important events!

• The College Division invited clinicians are Bill Frederickson from Florida State and Evan Tobias from Arizona State. Their combined eight sessions cover a wide variety of contemporary and important topics in music education.

• The First and Second General Sessions will be held at 8 A.M. on Thursday and Friday in Lila Cockrell Theater. Tim Lautzenheiser and Sir Ken Robinson will be keynote speakers.

• The CTME Chapter Officers and Sponsors meeting is on Thursday from 3:45 to 4:30 P.M., followed by the CTME business meeting and reception.

• Also on Thursday, chair Carla Cash will lead the College Division Keyboard committee meeting from 4 to 5 P.M. All collegiate members involved specifically with keyboard instruction are encouraged to attend.

• The College Division Business Meeting (and all other division business meetings) will be held at 5:15 P.M. on Thursday. Benon Kigozi, President

Genuine beginnings begin within us, even when they are brought to our attention by external opportunities. — William Throsby Bridges 70 Southwestern Musician | February 2014

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

UT ARLINGTON ADMISSION AND SCHOLARSHIP

AUDITIONS UNDERGRADUATE

For winds, strings, percussion, and keyboard: Q

Saturday, March 1, 2014

For voice:

Saturday, February 22, 2014 Q Saturday, March 1, 2014 Q Saturday, April 5, 2014

Q

(non-scholarship)

GRADUATE

For all instruments and voice: Q

Saturday, February 22, 2014

Alternate dates by appointment

For applications and more information, visit

www.uta.edu/music

Pan-African Society for Musical Arts Education, will present a keynote address at our meeting. Bill Frederickson and Evan Tobias will also share their thoughts, and we will be facilitating election of the next College Division Vice-President.

• The College Division Research Poster Session, presided by Amy Simmons of Texas State University, will be from 1:30 to 3:30 P.M. on Friday. It will once again be open to all attendees in the broad open spaces

of the Convention Center Parkview Foyer (outside of CC Room 214).

• The first ever Graduate School Fair will be held Friday, 4 to 5 P.M., in Exhibit Hall A. All institutions involved in the traditional College Night that offer graduate coursework are invited to participate. All TMEA members looking for answers regarding graduate study in music are invited to attend. Rules and guidelines for display and distribution of materials are the same as those for College Night.

DEPARTMENT OF MUSIC Dallas Baptist University produces quality musicians who become servant leaders in various areas of performance, music education, worship leadership, and the music and entertainment industry.

With state-of-the-art performing and recording spaces, Dallas Baptist offers students a superb education with a Christcentered focus and personalized attention from deeply committed Christian faculty.

AVAILABLE DEGREES

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February 8, 2014 (Winter Patriot Preview)

Saturday

March 29, 2014 (Spring Patriot Preview)

The Dallas Baptist University Department of Music is accredited by the National Association of Schools of Music.

ZZZ GEX HGX 72 Southwestern Musician | February 2014

Of course, there are also hundreds of sessions, dozens of concerts, and seemingly miles of exhibits to negotiate—all promising in the opportunity to enhance our perspectives and understandings for engaging in our profession!

As this is my final communication as College Division Vice-President it seems appropriate to reflect on the experiences as a member of the TMEA Executive Board. In my first column I remarked on my initial impressions of the selflessness and integrity of this Board. At this time these attributes are what still strike me as the defining qualities of this experience.

I wish to thank all my fellow Board members for their service and fellowship.

I also want to again publicly acknowledge the entire TMEA staff in Austin; their efficiency and dedication could never be fully appreciated by our membership. In my opinion, it is this collection of individuals who are most responsible for us having a professional organization that is the envy of all others.

I sincerely wish each of you a terrific 2014 convention experience!

2014 Clinic/Convention Update If you preregistered, your badge will be ready on the Preregistered Badge Pickup side by last name. If you didn’t preregister, you can register at the convention. If you plan to use a purchase order, ensure it is official, signed, and for the accurate amount based on what you plan to purchase (membership renewal, registration, audio files, etc.). Otherwise you will have to pay using your own funds.

Keep in mind that if you will register on-site for the Wednesday TI:ME Technology Preconference, it is a separate fee that cannot be paid for concurrently with your TMEA registration, and purchase orders cannot be used. Review the fees listed on the Convention Registration page found at www.tmea.org/convention.

If you haven’t already, take a moment to create an online personal schedule at www.tmea.org/convention. You can save, edit, and print this for use as you navigate the event. The mobile convention guide will be available to download as well. In addition to the convention program full of valuable information, these other electronic resources are extremely helpful!

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