January 2013 | Southwestern Musician

JANUARY 2013

24 FEATURES

JANUARY 2013

10

2013–2014 TMEA Executive Board Candidates

24

Chinese Delegation Visits Austin to Learn about Arts Education

Before you vote, learn about the candidates for TMEA President-Elect and Orchestra, Vocal, and Elementary Division Vice-President.

In November, a delegation of educators from China visited with &(')$ DQG 70($ VWDII PHPEHUV DQG VWDWH GHSDUWPHQW RIÀFLDOV WR OHDUQ DERXW RXU ÀQH DUWV HGXFDWLRQ VWDQGDUGV SURIHVVLRQDO development, state law and policy, student access, and more.

VOLUME 81 — ISSUE 6

BY ROBERT FLOYD

On the cover: Ilia De La Rosa, graduate student at the University of North Texas College of Music, performs with the UNT Symphony Orchestra. Photo

by Karen Kneten.

38

What’s in Your Toolbox?

Music educators must have a diverse set of tools on hand to meet the individual needs of each student they teach. Learn more about how to equip yourself with the best tools for the job.

BY LYNNE JACKSON

COLUMNS

51

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

by John Gillian Executive Director’s Notes..................20

by Robert Floyd Band Notes .............................................................26

by Ronnie Rios

Leading Through Change Educators can choose to be shaped by change or can be leaders in shaping the change. As society, schools, and students evolve, it is important to remain current, think critically, and solve problems to lead through that change.

BY JUDY BOWERS

68

Incorporate Technology to Improve Student Learning and Engagement With the TI:ME National Conference held in conjunction with the TMEA Clinic/Convention this February, attendees will have ample opportunities to learn more about how to effectively incorporate technology to support music education.

BY FLOYD RICHMOND

Orchestra Notes .............................................. 44

by Lisa McCutchan Vocal Notes ............................................................59

by Janwin Overstreet-Goode

UPDATES Creating Your Convention CPE Record .........................................................2 2013 TMEA Clinic/Convention: Last Chance to Preregister .......................3

Elementary Notes ........................................... 74

by Michele Hobizal College Notes ..................................................... 83

by Keith Dye

2013 President’s Concert Features Dallas Wind Symphony .................. 36 HS Honor String Orchestra Results ........................................................... 47 College Division Fall Conference Images .................................................. 89 Thank You, Scholarship Donors ................................................................. 91 Southwestern Musician | January 2013

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Editor-in-Chief: Robert Floyd

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

Managing Editor: Karen Kneten

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

Creating Your Convention CPE Record

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

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

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

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

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

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

Elementary Vice-President: Michele Hobizal VDOO\KREL]DO#NDW\LVG RUJ 11003 Bergamo Drive, Richmond, 77406 281-234-0050/Fax: 281-644-1690 – Wolman Elementary

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

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

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

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1. Now: Create a personal schedule online.

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2. During the Convention: 0DNH QRWH RI ZRUNVKRSV \RX DWWHQG WR FRPSOHWLRQ Active membership, convention registration, and attendance is required for CPE credit to be granted.

3. When you return home 8SGDWH \RXU RQOLQH SHUVRQDO VFKHGXOH WR FRQILUP WKH ZRUNVKRSV \RX DWWHQGHG SULQW \RXU &3( IRUP DQG VXEPLW LW WR \RXU school district.

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 QDPH RI WKH publication to Southwestern Musician.

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Southwestern Musician | January 2013

2013 TMEA Clinic/Convention February 13–16

San Antonio

NATIONAL TI:ME MUSIC TECHNOLOGY CONFERENCE L A ST CH A NCE TO PREREGISTER JANUARY 23: Final day to make a reservation or to cancel one without penalty JANUARY 24: Final day to preregister online TMEA MEMBER HOTEL RESERVATION DEADLINES January 23: Final day to make a discounted hotel reservation.

January 23 is also the final day to cancel a hotel reservation without being assessed a $50 penalty. There will be no waivers for this penalty.

January 30: Final day to use the housing reservation system to change an existing reservation. After that, contact the hotel itself.

(It is best to wait several days to contact hotels as there is a delay in their receiving our block of hotel reservation information.)

TI:ME Technology Preconference :('1(6'$< )(%58$5< 11:30 a.m.–7 p.m.

Preregister online on or before January 24. Fax and mail preregistration closed December 31. Any forms or funds submitted after December 31 are returned and preregistration is not processed.

PREREGISTRATION FEES

Active music educators: $50 Retired music educators: $15 College student members: Included in $20 membership dues Wednesday TI:ME Preconference: $50 GO TO WWW.TMEA.ORG/CONVENTION TO PREREGISTER NOW! Create an Online Convention Schedule: Go to the convention webpage to access the online schedule. Search for clinics you want to attend and add them to your personal schedule (which you can save, edit, and print). This schedule is your first step to creating your Continuing Professional Education (CPE) record after the convention (see page 2).

LEARN MORE ABOUT

PREREGISTRATION DEADLINE

iPads music labs podcasting assessment social media creating apps free technology digital portfolios website development interactive multimedia

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

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

F R I D AY

S AT U R D AY

January 18, 2013

February 1, 2013

March 2, 2013

( V O I C E O N LY )

( V O I C E O N LY )

S AT U R D AY

S AT U R D AY

January 19, 2013

February 9, 2013

* P M &EBRUARY MEET $EAN 7ILLIAM V. May at the dessert reception for Baylor ALUMNI AND FRIENDS 2IO 'RANDE "ALLROOM OF THE (YATT 2EGENCY (OTEL

Auditions are required of all entering and transferring music majors.

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

TMEA History: Part III— Through World War II B Y

J O H N

G I L L I A N

W

hen considering subject matter for my articles this year, I hoped to learn more about TMEA’s early history, and I am satisfied that I have accomplished that goal. I have found much inspiration in learning about the early work of our organization.

I ended my November column with our organization’s name change on August 1, 1938, to Texas Music Educators Association. Major changes to the previous organizations were a part of this name change. A Board of Control was established consisting of the TMEA President, three Vice-Presidents (band, orchestra, and vocal— the only divisions at the time), a secretary, a treasurer, a chairman, and two representatives from each of the eight newly established Regions. This Board of Control is now the State Board of Directors. The first woman elected to an Executive Board position was also in 1938 with the election of Cobby de Stivers from Waco, our first Vocal Division Vice-President.

Prior to this, Texas was divided into four Regions for purposes of competitions—Northern, Southern, Eastern, and Western. Now the state was divided into eight Regions, and there was much discussion about how to maintain fairness among the Regions at these competitions (some things never change). By looking at where the Region Chairmen/Presidents lived at the time, the Regions were: I–Texas Panhandle; II–West Texas cities including Big Spring, San Angelo, and Abilene; III–Dallas/Fort Worth, including the Waco area; Region IV–Texarkana/ Northeast Texas area; Region V–Houston, including the Bryan/College Station area; Region VI–Austin/San Antonio area; Region VII–Rio Grande Valley area; Region VIII–West Texas area between El Paso and Midland.

PRESIDENT’S NOTES IMPORTANT DATES January 23—Deadline to cancel a convention hotel reservation without penalty.

January 24—TMEA convention online preregistration deadline.

February 13–16—TMEA Clinic/Convention in San Antonio.

I feel safe in predicting that the Texas Music Educators Association will be a brilliant success.

—TMEA President Ward G. Brandstetter, 1938 Southwestern Musician | January 2013

5

TMEA’s magazine at the time was Texas Music Educator. President Ward G. Brandstetter was authorized by the board in October 1938 to investigate combining with Southwestern Musician magazine, a publication owned by Clyde Garrett of Arlington. It was 1954 before these two publications merged, creating TMEA’s magazine Southwestern Musician Combined with the Texas Music Educator, and it was August of 2004 when our magazine was shortened to the current SOUTHWESTERN MUSICIAN. President Ward G. Brandstetter (1908– 1955) in a greeting letter to the members of Region 2 wrote inspiring words that still ring true about TMEA today: . . . I feel safe in predicting that the Texas Music Educators Association will be a brilliant success.

The eyes of the nation are on the Texas Music Program right now, and it is up to all of us to prove that the wonderful progress made in Texas during the past few years is not mushroom growth. Through our new association we shall be able to strengthen the foundations already laid by our predecessors and continue to build the fine programs of music education that a

6

Southwestern Musician | January 2013

great state like ours deserves. I am confident that we shall succeed (September 12, 1938).

Brandstetter’s term as TMEA President ended February 3, 1940, when Russell E. Shrader was elected President of TMEA at a meeting in Mineral Wells. Shrader was band director in Sweetwater at the time. Texas public schools for the first time provided free music textbooks for instrumental music classes, with TMEA recommending free textbooks for all music education classes. With 533 active memberships in 1940, TMEA was growing, and the association’s finances were recovering slowly, ending the year with a $166.84 balance.

The 1941 meeting was in Waco, where 362 active members, 36 sustaining members, and 1,234 students participated in clinics. Among the clinics and concerts, TMEA members resolved that building positive relationships with superintendents and other school administrators was vital to the growth of school music programs in Texas. The convention was able to make a profit of $310.52. Lyle Hickary Skinner (January 8, 1895–July 18, 1973) was elected President, and he

served through August of 1942. During a TMEA convention in Galveston, with a small number in attendance due to America’s involvement in World War II, a new TMEA constitution was adopted.

Of course, December 7, 1941, “a date which will live in infamy,” Pearl Harbor Day, must have changed the lives of many music educators during that time. At a Dallas meeting in August 1942, the outgoing President and the three outgoing Vice-Presidents were all absent (presumably involved in some aspect of service during World War II). According to the TMEA constitution, the next in line for the Presidency was Secretary-Treasurer Charles Sanford Eskridge, Sr. (September 11, 1910–March 5, 1986), band director in Lubbock and formerly in Wink.

To support the war effort, the board members in 1942 voted to encourage music programs to regularly perform Victory Concerts throughout the state to aid in the sale of war bonds and stamps.

Rather than have state-level contests, TMEA decided to use local festivals to reduce long travel during this time of rationing. Music educators who were not involved in the war effort were requested

Listening

The World is

Spring 2013 Performances Begin January 23 For performance listings visit: music.utexas.edu

For advance ticket sales: musicutexas.thundertix.com

to aid on a part-time basis communities whose instructors were serving in the armed forces. Marching band instruction was standardized to conform to the U.S. Infantry Drill Regulations. Instead of hosting a TMEA state convention in 1943, a minimum of three area conventions were to be held to eliminate excessive travel.

At an April 17, 1943 board meeting in Dallas, Carl M. Cochran (October 2, 1903–December 1, 1982) from Marlin was elected TMEA President. In addition to Cochran’s election, Past-President D.O. Wiley was elected SecretaryTreasurer at this meeting beginning his term of nearly 20 years in this office. At this meeting, the war efforts continued, and the decision was again made to host no state convention for 1944. A drive to recruit elementary music teachers into the TMEA Vocal Division was initiated during this meeting, and this eventually led to the 1951 formation of the Elementary Division.

April 8, 1944, was the next meeting of the TMEA Board of Directors in

8

Southwestern Musician | January 2013

Waco where a new President, Raymond Tapley Bynum (August 14, 1906–August 1, 2003) from Abilene, was elected. Dr. Bynum served through 1946. After much discussion about combining with the national MENC convention, the decision was made by TMEA to hold its own clinic/convention in Waco. The decision was based on the fact that three years had passed since the last full clinic/convention as well as the a need to focus on Texas issues.

Unfortunately, the United States Office of Defense Transportation (ODT) requested that TMEA cancel its plans for a 1945 convention. When the Executive Board met again in July of 1945, a vote was taken to keep the same plans in place for a February 1946 convention in Waco.

After the successful Victory Concerts had raised $2–3 million in war bonds and stamps, a decision was made to perform concerts to support the Gonzales Warm Springs Foundation for Crippled Children.

With limited reports available from our 1946 records, I presume that the 1946

convention in Waco was able to proceed as planned. The years following World War II were an exciting time of growth for TMEA. With limited space and time, this concludes my historical look at TMEA’s early years. In February, among other things, I will share my plans and dreams for the future of TMEA. It is my sincere hope that many who read these words will find their place in TMEA’s leadership. Our organization has thrived because of a history of great leadership. I have faith that our future will be even brighter because of our talented members who will take leadership roles to even greater new vistas.

Resources Minutes and Proceedings of the Texas Music Educators Association, 1924–1961 Social Security Death Index w w w.tmea.org /about/past-presidents, TMEA Past-Presidents webpage www.pbmalpha.org/pbmhalloffame.php, Phi Beta Mu website

Executive Board Candidates Election of the TMEA President-Elect will be at the Second General Session, Friday, February 15, 9 A.M., in Lila Cockrell Theater.

The Orchestra Vice-President will be elected at the Orchestra Division Business Meeting, Thursday, February 14, 12:30 P.M., in CC 206.

The Vocal Vice-President will be elected at the Vocal Division Business Meeting, Thursday, February 14, 11 A.M., in Ballroom A. The Elementary Vice-President will be elected at the Elementary Division Business Meeting, Thursday, February 14, 6 P.M., in Ballroom C1.

Candidates for President-Elect: Michele Hobizal and Janwin Overstreet-Goode Michele Hobizal

Present Position: Elementary Music Specialist, Wolman Elementary, Katy ISD (2012) Previous Positions: WoodCreek Elementary, Katy ISD (2009–2012); Pattison Elementary, Katy ISD (1998–2009); Columbus Elementary, Columbus ISD (1991–1998); Bellville Elementar y/ WestEnd Elementar y, Bellville ISD (1989–1991); AB Freeman Elementary, Pasadena ISD (1986–1989).

Education: Bachelor of music education, Texas State University (1986).

TMEA Offices and Positions Held: Region 23 Elementary Chair (2000–2007); Actively served in all positions in the Elementary Division (2000–present); TMEA Elementary Division Vice-President (2007–2009 & 2011–2013).

Other Positions Held: Katy ISD Elementary District Honor Choir Director (2000–2007); CEDFA Cadre member (2001–present); Katy ISD Elementary District Honor Choir Assistant Director (2010–2011); Katy ISD Professional Learning Committee Leader (2007–2010); Editor/Writer for the KISD Elementary Music Wiki with SMART Board lessons and technology lessons (2008–present); Katy ISD Elementary Music Minute Editor (2009–present).

Professional Affiliations: TMEA, TCDA, American OrffSchulwerk Association (AOSA).

Honors/Accomplishments: Pattison Elementary Teacher of the Year (2000); TMEA Invited Elementary Choirs (2007, 2011); clinician for numerous school districts, TMEA Region workshops, and TMEA conventions.

Personal: My love of teaching comes from my mother, Jimmie Pride, who taught elementary music for 52 years. I am married to Marcel Hobizal, former amazing band director now working in the corporate world.

Statement: With excitement and enthusiasm, I accept the nomination for TMEA President-Elect. My service to TMEA is extensive, starting in 2000 as an Elementary Region Chair and continuing to two terms as the Elementary Division VicePresident. Serving on numerous committees, summer dialogues, and discussion panels through the TMEA organization has provided me opportunities to take part in investing in the future of music education in Texas. My intense desire to improve music education in Texas has been strengthened by working on numerous TMEA, textbook, and TEKS committees. I created an online 10 Southwestern Musician | January 2013

resource (via Edmodo) for TMEA elementary music teachers to have a variety of resources.

As president of TMEA, I will be your strongest advocate.

Being an elementary music specialist I have a vested interest and responsibility to ensure all divisions are successful and rewarding for both the students and the music educators. Elementary students will travel through your divisions as they mature. I want to hear and see that they have positive influences and experiences in their lives not only musically, but in every aspect of their growth.

Their growth can happen if you have the resources and opportunities to grow as a music educator.

My two terms on the TMEA Executive Board have been valuable and educational. I understand the workings of each division, from the All-State processes to situations and concerns that affect each division. In my view, the TMEA President must be: 1. Open and receptive to all sides of all issues, situations, and discussions concerning the membership.

2. Ready to actively engage in discussions with other organizations and state officials.

3. Up-to-date regarding educational legislative issues.

4. Knowledgeable about the education requirements from kindergarten to grade 12.

Other facts you may not know about me are: I have taught private clarinet and bass clarinet lessons, judged at both high school/middle school Region auditions, judged solo and ensemble contests, worked at concert and sightreading contests, judged at choir festivals and provided sectional rehearsals with woodwinds.

My students and student teachers have gone on to be All-State (woodwind) performers, award winning directors, and amazing music educators.

An important question I have to answer to you is “Why pick Michele Hobizal as your next TMEA President?” Simply put, I am your most powerful and energetic ally. I will continue to devote the time, focus, energy, and enthusiasm to providing members with an outstanding and worthwhile convention experience while giving your students amazing opportunities for musical growth through the All-State processes and concerts. I will work tirelessly to provide quality music education for every Absentee Voting: Members unable to attend the convention may request in writing a President-Elect absentee ballot from the TMEA office (attn: Kay Vanlandingham). Requests must be postmarked on or before January 15, 2013. Ballots must be postmarked no later than February 6.

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

Donna Berg – Darien Elementary, Delavan, WI

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

BJ Bany – Continental Elementary, Continental, OH

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

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

Sherri Stoddard Thompson Jefferson Elementary, Shawnee, OK

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

Penelope Campbell – Willbern Elementary Houston, TX

“I love the Quaver Quizzes that

can be used after each episode.

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

Lisa Hussung – Rich Pond Elementary Bowling Green, KY

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student in Texas. I will demand the best possible environment for you to strive to be your best and continue to showcase TMEA as the premier organization. With heartfelt appreciation, I ask for your consideration and your vote to represent you as your next TMEA President-Elect.

Janwin Overstreet-Goode Present Position: Head Choir Director, Friendswood HS, Friendswood.

Previous Positions: Head Choir Director, Sam Rayburn HS (1995– 2004); Assistant Choir Director, Sam Rayburn HS (1994–1995); Head Choir Director, Langham Creek HS (1992– 1994); Assistant Choir Director, J. Frank Dobie HS (1984–1992); Anderson Co. (Ky.), Saffell Street ES and Anderson County MS (1982–1984).

Education: Bachelor of music education and bachelor of music-applied piano, Murray State University (Ky.); master of music, University of Kentucky.

TMEA Service: Vocal Division Vice-President, State Vocal Chair (2011–2013); Convention Vocal Division Clinic Coordinator (2010–2011); Convention Vocal Division Ballroom Monitor Chair (2009); All-State Women’s Choir Organizer (2004, 2005); All-State Mixed Choir Section Leader (2003); Area E Vocal Chair (2000–2002); Region 19 Vocal Division Chair (1998–2000); Region 19 Vocal Division Vice-Chair (1996– 1998); Region Choir Clinician (1997–present, various regions); Regions 17 and 19 All-Region Choir Organizer (1986–present); Region 9 Vocal Division Secretary (1993–1994).

Other Positions of Leadership Held: Secretary-Treasurer, TCDA (2007–2009); Co-editor of Common Times for Southwest ACDA (2002–2004); Southwest ACDA Convention Program Chair (2002).

12 Southwestern Musician | January 2013

Affiliations: TMEA, TCDA, ACDA, TMAA, Sigma Alpha Iota.

Honors/Accomplishments: Best Musical Director—Tommy Tune Awards (2010); Friendswood ISD “Making a Difference” Award (2009); Texas Association of School Administrators Invited Performing Choir (2009); TMEA Convention Clinician; TMEA Invited Performing Choir–Friendswood HS Campus Singers (2008); TMEA Convention Panelist, Demonstration Choir Conductor (2008); Houston Symphony/Fidelity FutureStage Outstanding Music Educator in the field of Choral Music (2008); Kentucky All-State SSAA Choir Conductor (2006); TMEA Invited Performing Choir–Sam Rayburn HS Chorale Women (2001).

Personal: Married to band director (retired) John Goode; one daughter, Catherine, a junior music education major at the University of Houston Moores School of Music.

Statement: TMEA’s invaluable resources and support system are integral to the success of music education in Texas. If elected President-Elect, I will strive to maintain TMEA’s advocacy role for music educators and to seek ways to expand the organization’s effectiveness as a guiding body serving all music programs throughout the state.

Because of my lifelong musical experiences, I am uniquely qualified to serve as TMEA President-Elect. In addition to high school and university choir participation, I played clarinet in high school marching and concert bands all four years, and played viola and auxiliary percussion in my university orchestra. I was a member of my university marching band color guard. I have taught elementary music and choir as well as secondary choirs, and have worked in rural, urban, and suburban school districts in both small school and 4A and 5A programs. I have seen firsthand the many needs and difficulties involved in developing a first division band program when my husband, John, was a Texas 5A band director, and earlier when he taught small school bands in Kentucky where I assisted as his color guard instructor.

I seek the office of TMEA President-Elect for several reasons. First, as the parent of a college junior majoring in music education, I am keenly aware of the necessity for TMEA to remain vigilant to legislative action that might negatively impact job growth and job stability for music teachers. I will actively participate in TMEA’s efforts to present effective evidence to our legislators supporting the creative and educational benefits successful music programs provide our Texas students. Second, I have experienced the effects of state and local budget reductions to both my own program and those of my colleagues. I am eager to continue to be a part of the process that works with our legislators as we fight for adequate funding and support. Finally, I have a firsthand and intimate understanding of the complexities of the All-State audition process, experience which I believe is essential for the TMEA President to possess.

I am passionate about teaching and about the importance of music education’s ability to transform students. At both the state

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and region levels, I have handled complex tasks using respectful, professional, and effective communications leading to well organized, successful outcomes. As President-Elect, I would focus my passions and skills to help TMEA keep music education in Texas vital and strong.

Candidate for Orchestra Vice-President Craig Needham

Present Position: Director of Orchestras, Berkner HS (2005â&#x20AC;&#x201C;present).

Previous Positions: Orchestra Director, Amarillo HS, Clark HS (Plano ISD), and Westwood JH (Richardson, ISD).

Education: Bachelor of music (Cum Laude), University of North Texas (1996).

TMEA Offices and Positions Held: Region I Orchestra Division Chair (2002â&#x20AC;&#x201C;2004); Region III Orchestra Division Chair (2006â&#x20AC;&#x201C;2008); Region I Vice-President (2001â&#x20AC;&#x201C;2002); All-State Symphony Orchestra Organizer (2002); TMEA Agenda Committee Member; Honor Orchestra Committee Member; Region I and Region III Clinic and Contest Host; Honor Orchestra judge; Honor Orchestra judging host.

Other Offices and Positions Held: TODA Executive Board

(2007â&#x20AC;&#x201C;2011); PML Committee (2011â&#x20AC;&#x201C;present); Music Advisory Committee; UIL Sightreading Committee (2005â&#x20AC;&#x201C;2006); Assistant Conductor, New Conservatory of Dallas; Amarillo Youth Symphony Board (2000â&#x20AC;&#x201C;2005).

Honors/Accomplishments: TMEA HS Honor String Orchestra (2007); Star Teacher of the Year Award, Richardson ISD (2008); Teacher of the Year, Berkner HS (2007); TexASTA Marjorie Keller Young Teacher Award (2003); Nine-time Honor Orchestra finalist (String and Full); 16 consecutive UIL Sweepstakes Awards; Clinician for Region/Area Orchestras in Texas, New Mexico, Oklahoma, and Arkansas.

Professional Affiliations: TMEA, TODA (Past-President), TMAA, and Mu Omicron.

Personal: My wife Susan and I have been married for 18 years and are the proud parents of a 15-year-old violinist named Kayla and an 11-year-old pianist/cellist named Sydney. My wife is an accomplished 3rd grade teacher at Dartmouth Elementary in Richardson ISD. Statement: I am honored and humbled to accept the nomination of TMEA Orchestra Division Vice-President. Since I was a student officer in the TMEA College Division during my college days I have dreamed about one day being on the â&#x20AC;&#x153;big TMEA Board.â&#x20AC;? I remember fondly my days as an All-State Orchestra member seeing Kathy Fishburn and Royce Coatney come in and address the participants, congratulating us on the honor of being selected as an All-State member and instructing us on proper behavior. Those early days at convention cemented my desire to one day serve TMEA. Over the years, I have had the chance to experience the machinery of TMEA as a Region Chair, All-State

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Southwestern Musician | January 2013 15

University of North Texas

College of Music

Auditions Regional Auditions (live percussion auditions offered on campus only)

Saturday, January 19, 2013 (Chicago) Saturday, January 19, 2013 (Los Angeles)

University of North Texas Campus Saturday, January 26, 2013 Friday, February 1, 2013 (Graduate Percussion, Piano, Voice, and String Auditions ONLY)

Saturday, February 2, 2013 Saturday, February 23, 2013

organizer, and by serving on multiple committees. I continue to be amazed at the growth of our organization and the quality of our convention and All-State groups. My experiences and friendships made through TMEA have shaped my career and my life.

I feel as if I have been preparing for this moment since my first All-State experience.

It’s my desire to work tirelessly for our division, maintaining our high standards of organization and to present shared ideas to improve the processes of our Region and State auditions as well as our Honor Orchestra competitions. I will work to continue to attract world class All-State conductors and cutting edge, relevant clinicians for our convention. The TMEA board room feels like home, having spent the last five years in TODA board meetings there, and I am comforted by the opportunity to serve there once again. I appreciate your support and ask for your vote in the Orchestra Division meeting. I look forward to serving!

Candidate for Vocal Vice-President Dinah Menger

Present Position: Director of Choirs, Arlington HS (1995–present).

Previous Positions: Lower School Music Specialist, The Oakridge School (1992–1995); Music Specialist, Roark Elementary (1985-1986); Music Specialist, Helen Keeling Elementary (1984–1985).

Education: Bachelor of fine arts (major: choral education/ minor: voice performance), University of Arizona.

TMEA Offices and Positions Held: Region 5 Vocal Chair (1999–2001 and 2008–2010); All-State Treble Choir Section Leader (2002); All-State Treble Choir Coordinator (2006, 2007); TMEA Convention Ballroom Manager (2010, 2011); TMEA Vocal Division Facilities/Clinic Coordinator (2012, 2013).

Other Offices and Positions Held: UIL Concert & Sightreading Contest Host (2000–2007); TMAA Vocal VicePresident (2007–2010); UIL Solo & Ensemble Contest Host (2008–2012); UIL Prescribed Music List Committee (for the 2007–2011 PML); TMAA President-Elect (2010–2013); UIL Prescribed Music List Committee Chair (2011–2012); Region 5 UIL Judges Selection Committee (2004–present).

Professional Affiliations: TMEA, TMAA, ACDA, TCDA, PTA (Life Time Member), SAI (Zeta Nu).

Honors/Accomplishments: Colt Chorale TMEA Invited Choir Performances (2005, 2009); Colt Chorale ACDA National Convention Performance (2007); Colt Chorale Varsity Men National ACDA Performance (2013); Chamber Singers American Classic Madrigal Festival Honor Choir (2010); Chamber Singers Kurt Weill Foundation Carnegie Hall Performance (2013); AWARE Foundation Secondary Teacher of the Year (1998); Who’s Who Among American Women (2004, 2007); Distinguished Colt Alumni (2010); Choir Director Magazine Featured Choir Director (August 2012).

Personal: Married to Christopher Menger (33 blissful years—just ask Chris!). Together we have three children: Claire Elizabeth Gierber and her husband Tyler live and work in New

Southwestern Musician | January 2013 17

Vote for Board Candidates President-Elect: Fri., Feb. 15, 9 A.M., in Lila Cockrell Theater.

Orchestra Vice-President: Thurs., Feb. 14, 12:30 P.M., in CC 206.

Vocal Vice-President: Thurs., Feb. 14, 11 A.M., in Ballroom A. Elementary Vice-President: Thurs., Feb. 14, 6 P.M., in Ballroom C1 York; Samuel Dalton and his fiancée Danielle Testa live in Arlington and will be married in October 2013; Anna Kathryn (TMEA All-State Mixed Choir 2009, 2010) attends UTA as a Music Business major.

Statement: I am so honored to be considered as a candidate for the Vocal Division Vice-President position. If elected, I would like to continue the high standards in professionalism and artistry established by past Vice-Presidents. I would like to ensure that music of the highest quality is selected for the AllState Choir process, pushing Texas high school singers toward new personal goals and experiences in their music making and performing. I would also like to be a strong advocate for each and every music teacher in their musical and educational growth as “future-makers” for Texas school children and to validate each teacher’s presence in the lives of their choristers. I would like to strengthen the bridge between band, orchestra, and choir from the elementary to the collegiate levels, developing a sense of continuity, cohesiveness, and community that would benefit all of our music students. I would like to encourage young composers, performers, and directors in pursuing and staying in music education in the state of Texas, solidifying the fact that Texas music education has always been and will continue to be the national trail blazer in fine arts education.

Candidate for Elementary Vice-President Colleen Riddle

Present Position: Program Director of Elementary Performing Arts Education, Aldine ISD (January 2002–present).

Previous Positions: Elementary music teacher/team leader at Clark Elementary in Spring ISD (1991–2002), Meyer Elementary in Spring ISD (1984– 1991), Johnson Elementary in Aldine

ISD (1982–1984).

Education: Bachelor of arts, Louisiana State University; Kodály certification from Sam Houston State University (1986); master’s degree in administration and mid-management with emphasis in Kodály pedagogy from Sam Houston State University (2000).

TMEA Offices and Positions Held: Region 19 Elementary Chair (2007–present); TMEA Presider, Host, Elementary Office Staff (2007–present); TMEA Resolutions Committee (2011–present).

Other Positions Held: Founding Director of the Spring 18 Southwestern Musician | January 2013

ISD Elementary Honor Choir (1996–2002); Coordinating Director of the Aldine Children’s Honor Choir (2002–present); Founder and Coordinating Director of the Aldine Children’s Orff Ensemble (2002–present); Founder of the Southeast Texas Kodály Certification Program endorsed by OAKE; Founder of the Orff Certification Program in Southeast Texas approved by AOSA; Founder and Director of the Children’s Music Festival of Houston (2002–present).

Professional Affiliations: TMEA, TMAC, HAMA, TCDA, OAKE. Honors/Accomplishments: Spring ISD District Teacher of the Year (1992); Max Schlotter Award for most outstanding educational graduate student at Sam Houston State University (2000); Outstanding Supervising Teacher Award from University of Houston (1992); supervised 14 student teachers; staff development clinician in Katy ISD, Humble ISD, Spring ISD, and Aldine ISD; Directed Conroe ISD Honor Choir Spring Concert (2006); Director of the Spring ISD Elementary Honor Choir, a TMEA Invited Choir (1999); Administrator of Aldine Children’s Honor Choir, a TMEA Invited Choir (2009); Taught and sponsored students who were chosen for the TCDA Elementary State Honor Choir (2008, 2010, and 2012).

Personal: My husband Tom and I live in Spring, Texas. We have three children, Kelley, Kacie, and Ryan, and two grandchildren, Trey and Sara.

Statement: I am thrilled and honored to accept your nomination for TMEA Elementary Division Vice-President. While serving as TMEA Elementary Chair for Region 19 for the past four years, I have welcomed the opportunity to provide staff development for the elementary music teachers in my Region.

Currently, as Program Director for Elementary Performing Arts in Aldine ISD, I have the privilege of working at the district level to bring meaningful, relevant professional development sessions to all performing arts teachers in grades K–5. Additionally, I have learned what is involved behind the scenes at the TMEA convention by presiding over sessions, volunteering in the Elementary Division office, and serving as host to many performing groups at our amazing convention each year.

As TMEA Elementary Vice-President, it will be my goal to continue the strong, positive leadership that we have come to expect and value as the second largest division of TMEA. Part of that leadership involves a responsibility to provide clinics that promote the tried and true methods of the past, partnered with the exciting, innovative ideas and technologies of the future. I want to continue the excellence in our elementary choral and instrumental performances, which are the highlight of our TMEA convention experience. I am also looking forward to collaborating with our 28 Region Chairs as we serve all of the elementary music teachers in Texas. Finally, I will continue to encourage our parents, teachers, and administrators to be advocates for the importance of fine arts in the total education of our Texas students.

The greatest joy I have as an elementary performing arts administrator is found in showcasing the strengths and talents of the teachers I work with on a daily basis. I know that the ultimate reward from the works of these fine teachers will be shown in the students whom they educate and inspire. Thank you for your consideration in allowing me to work at the state level to support, promote, and motivate all of our elementary music teachers.

Sharing the power of music with every student

EXECUTIVE DIRECTOR’S NOTES IMPORTANT DATES January 23—Deadline to cancel a convention hotel reservation without penalty.

January 24—TMEA convention online preregistration deadline.

February 13–16—TMEA Clinic/Convention in San Antonio.

B Y

R O B E R T

F L O Y D

M

any of you recently completed a fall marching season where much emphasis was placed on UIL ratings and marching festival placement.

Others just concluded the audition process where student emphasis was on earning a place in Region Band, Orchestra, or Choir and advancing through the AllState process. Sometimes why we teach and what we hope students take from our programs become somewhat distorted by the desire for another marching band trophy, another Region patch, or some other material recognition. Let me quickly point out this column is not a lecture about the negatives of competition relative to music education philosophy. It is instead a gentle reminder of how fortunate we are to teach an academic subject that can serve students and communities with so many unique needs and interests, all with a different take-away from the music education experience.

When we all struggled to deal with 9/11 over ten years ago, we witnessed the healing power of music. We saw America’s most talented artists come together to present a concert raising millions of dollars for the families of the victims.

At athletic events we saw even the most hardened football fan standing with tears in their eyes as they sang the national anthem and witnessed the combined Michigan State/Ohio State bands performing Amazing Grace.

In the classrooms and campuses across the state we saw similar occurrences.

In Friday night halftime shows, orchestra and choir concerts, and elementary holiday programs, we saw our teachers utilize music as a vehicle to help students deal with and express their emotions during those difficult times. It was a part of the healing process taking place in our schools and hopefully contributed to the healing of our audiences as well.

As we consider how vital music can be in our emotional healing process, we should also remember how important music can be for each student we serve—especially for those students with special needs. Just as I was struggling

It always warmed my heart to see a student with a learning disability being assisted in rehearsal by a QDWLRQDO PHULW ÀQDOLVW :KDW D EHDXWLIXO VWDWHPHQW that makes about inclusion in our programs!

20 Southwestern Musician | January 2013

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to come up with a topic for this column, I received an email from one of our longtime members sharing a letter she had just received from a parent of a student who is a product of one of our music programs.

Ashleyâ&#x20AC;&#x2122;s father wrote:

Ashley is a testimonial to the benefits of studying music because she was afflicted with a serious neurological disorder in early childhood and was not predicted to finish high school. We encouraged her in many pursuits without much success, until

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When you preregister, for only $10 more, purchase audio file access that will allow you to download audio recordings of clinics presented at the 2013 Clinic/Convention. If youâ&#x20AC;&#x2122;ve already preregistered, go to www.tmea.org/audiofiles to purchase this separately.

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22 Southwestern Musician | January 2013

age 12 when she became captivated by the performance of a local flutist and asked for an instrument of her own. She practiced hours nightly, and before our eyes her grades noticeably improved. She found a teacher at age 14, played for you two years later, and beat the odds to graduate 3rd in her class with a national merit commendation. Beyond all doubt, the scholastic result was directly related to her intensive study of music.

He continued, The road is rocky for these kids because they are often misunderstood and/or overlooked, as even Ashley was once ejected from a high school music program based on a misperception of her disability. While she was able to enroll elsewhere and complete her education, we know there must be many other kids in similar circumstances who are not actively recruited into the one activity-based program that can help them the most.

Having taught for 26 years, as I read the letter flashbacks came to mind about numerous students I had taught who had Down syndrome or autism, were blind, were confined to a wheelchair, or simply had a moderate learning disability.

Recently at the UIL State Marching Contest I was moved by watching a student in a wheelchair perform, and the student who was pushing him never missed a step in a very complex drill. It reminded me how in our ensembles across the state, students with and without disabilities perform side by side. As a teacher it always warmed my heart to see a student with a learning disability being assisted in rehearsal by a national merit finalist. What a beautiful statement that makes about inclusion in our programs!

But then you must ask how many worthy students fall through the cracks?

You might recall that five years ago two students with autism spectrum disorders performed in All-State Choirs. An in-depth and touching interview with those students, their parents, and teachers can be found in our magazine archives

at tmea.org/magazine. “Opening Doors with the Power of Music” was published in May 2007. I encourage you to read it.

I often share a reprint of this article with members of the legislature.

We all know there is a perception by many administrators and counselors that music educators want to teach only the most talented and brightest students.

When such perception becomes reality, it creates an indefensible philosophy.

I encourage you to embrace rather than avoid the opportunity to serve special needs students such as Ashley. Sadly, she initially had a less than positive experience in one of our programs, but thankfully she got a second chance and is currently studying music at a prestigious conservatory in New York.

The next Ashley may be a current or future member of your program. Don’t

let such an opportunity to profoundly influence a student’s life slip away! We will continue to periodically print articles in SOUTHWESTERN MUSICIAN and provide clinics at the convention to assist you in this most important endeavor.

LEARN MORE There are several clinics at the 2013 TMEA Clinic/Convention designed to help you learn more about teaching students with special needs. When you search the online personal schedule or review the schedule printed in the December issue, look for these clinics. Learn from teachers who have experience and proven methods to share.

Learn Boldly. Live to Inspire.

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Southwestern Musician | January 2013 23

Chinese Delegation Visits Austin to Learn About Arts Education

by Robert Floyd

Members of the Chinese delegation, CEDFA Board, and TMEA staff

O

n November 8â&#x20AC;&#x201C;9, the Center for Educator Development in Fine Arts (CEDFA), TMEA, and Austin area schools hosted a delegation from China visiting the United States to observe quality arts and physical education programs throughout our country. The visitors were interested in a wide range of areas related to these topics, including government policy, national and state standards, curriculum development, teacher training, as well as community involvement.

Under a Memorandum of Understanding signed by the two governments in the early 1980s, the Chinese Ministry sends two delegations to the U.S. every year, and the U.S. Department of Education sends a group of American educators to China each summer. Hi Di, Program Officer, National Committee on U.S. China Relations, chose for the group to 24 Southwestern Musician | January 2013

visit Austin based on her research, where she found CEDFA was the only academic arts center in the U.S. that offers educator training in art, dance, music, and theatre.

During the three-hour visit to TMEA headquarters, members of the CEDFA Board shared brief presentations through an interpreter. Topics included information on our state and federal standards, professional development, state law and policy relative to arts education, student access to fine arts courses, special grants, and the CEDFA Cadre program. Those in attendance participated in an interactive, participatory arts project using digital cameras and iPads. Despite the language barrier, it was evident that all in attendance shared the same passion for how we serve students in our countries through the arts and recognized the role of the arts in a complete education for all children.

Executive Director Robert Floyd discusses state law and policy relative to fine arts education.

Members of the delegation, CEDFA, and TMEA collaborate in a participatory arts project.

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BAND NOTES IN MEMORIAM DON PLUMMER K NAPP April 23, 1929–November 10, 2012 O.T. RYAN August 12, 1927–November 16, 2012 JIMMIE W. SWOFFORD August 17, 1935–November 19, 2012

IMPORTANT DATES January 12—Area Band and Vocal auditions.

January 15—All-State student housing online entry deadline.

January 23—Deadline to cancel a convention hotel reservation without penalty.

January 24—TMEA convention online preregistration deadline.

February 13–16—TMEA Clinic/Convention in San Antonio.

March 1—Honor Band entry deadline for Classes 2C, 3C, 2A, and 4A.

Four food group diet B Y

R O N N I E

R I O S

H

appy 2013! I hope that your much-deserved time off brought you the happiest of times with those who mean the world to you. I also hope that you were able to enjoy some relaxation and rejuvenation. With all the resolutions flying around the water cooler, I thought I would offer a food group diet of principles that would make for a successful band hall.

First, self-discipline has to be at the forefront. It always amazes me that some athletes train four years of their lives for a 30-second competition. We must have our goals firmly in mind and go after them. Be disciplined with processes that will create a better situation for all. Are we willing to go after our goals every day? Remember that without discipline, there is no glory.

Self-sacrifice is probably the most challenging principle we face because no one wants their comfort zone violated. To get better at something requires time to be spent doing it. If your day is typical of most band directors, where your meter constantly reads “full,” you may have to let go of or lessen some obligation—you might even find that it was actually unproductive time in your day anyway.

Next, taking risks may be uncomfortable to some but is sometimes needed to create reward. I remember driving to a neighboring Region to attend a clinic on a Saturday morning. It was being offered by a director of one of the most successful programs in our state. Since the trip was a little out of

The only way to predict our future is to create it ourselves. Never give up on the things you dream of doing the most.

26 Southwestern Musician | January 2013

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the way, I ended up being the only one from my Region to attend. However, the information I received changed my entire approach to the sound of a band.

In hindsight, that was one risk I did not mind taking.

Finally, it is imperative that we have a vision for our program. While throughout history truly successful individuals have had a clear vision, it seems that this is the most lacking of all principles in our work.

We have to see the end at the beginning.

We often get so wrapped up in the daily grind, we forget or lose touch with our dreams and just settle for whatever each day brings us. The only way to predict our future is to create it ourselves. Never give up on the things you dream of doing the most.

2013 Clinic/Convention Update With just a month to go before our annual convention commences, I hope that you have made your plans to attend and have secured a hotel reservation. If you haven’t yet, know that January 24 is the final deadline to preregister. See page 2 for more details. You can now go

to www.tmea.org/convention to view the convention schedule and to create a personal schedule that you can save, edit, and print (this is also the first step to creating a continuing professional education record that you will complete after the convention). As you create your personal schedule, be sure to include the performances of our Honor Bands, university bands, and our first-time invited high school jazz band. Read below to learn about some of these groups (others were featured in our November issue).

Sam Houston State University Wind Ensemble Matthew McInturf, Director The Sam Houston State University Wind Ensemble is the premier concert band for students at SHSU. Wind and percussion instrumentalists also perform in the Symphony Orchestra, the Bearkat Marching Band, two jazz ensembles, and two other concert bands. The Wind Ensemble regularly performs with faculty and guest artists. Seeking to encourage the growth of the repertoire for winds, an active commissioning program encour-

aging new compositions and premiere performances is an important part of the Wind Ensemble’s curriculum. The Wind Ensemble has developed a national reputation through past performances at the TMEA convention, the College Band Director’s National Association and the annual Contemporary Music Festival held on the SHSU campus. Graduates of SHSU, including many who have performed in the Wind Ensemble, are currently performing in professional capacities, teaching in universities, and serving as excellent educators in the Texas public schools and are practicing music therapists.

Texas A&M University-Commerce Wind Ensemble Phillip L. Clements, Director The Wind Ensemble is the premier large instrumental ensemble at Texas A&M University-Commerce. Consisting almost exclusively of undergraduate and graduate music majors, the Wind Ensemble is equally dedicated to the performance of the cornerstones of wind literature, the finest contemporary works,

Southwestern Musician | January 2013 29

and a rich and varied repertoire composed for chamber winds. Led by Phillip L. Clements, director of bands, the Wind Ensemble continues to be on the forefront of new music for wind band, consistently commissioning new works from the nation’s leading composers. The ensemble is continually involved in collaborations with guest artists and composers. Recent guests include Allan Vizutti, David Maslanka, James Syler, David Sampson, and Bradley Bodine.

Texas A&M University-Commerce is recognized as one of the leading producers of music educators in the state of Texas, and many former members of the TAMU-Commerce Wind Ensemble have gone on to highly successful careers as performers and educators throughout the U.S. The Wind Ensemble has performed at numerous TMEA and College Band Director’s National Association conventions. In the spring of 2012, the Wind Ensemble performed in New York’s Carnegie Hall as well as for the Southwestern Division Conference of the CBDNA.

Texas A&M UniversityKingsville Jazz Band I Paul Hageman & James Warth, Directors Jazz Band I is the premier performing ensemble within the Jazz Studies Program at Texas A&M UniversityKingsville. The Texas A&M-Kingsville Jazz Program consists of Jazz Bands I, II, and III, Latin Jazz Ensemble, Jazz Combos I and II, TAMUK Bones, and jazz studies coursework.

Jazz Band I has performed at the annual Texas A&M-Kingsville Jazz Festival (now in its 46th year), the TMEA convention (1995, 2003, 2009), the Coastal Bend Jazz Festival, the UT Longhorn Jazz Festival, the Fiesta Jazz Festival, the Texas Jazz Festival, the RioFest Jazz Festival, the University of Northern Colorado/Greeley Jazz Festival, and the Mobile Jazz Festival.

In recent years, Jazz Band I has performed with many jazz artists including Rich Matteson, Jon Faddis, Arturo Sandoval, Marvin Stamm, Slide Hampton, Louie Bellson, Chris Potter, Richie Cole, Bobby Shew, Conrad Herwig, James Moody, Peter

Erskine, Ernie Watts, Ed Shaughnessy, Bob Mintzer, Claudio Roditi, Wayne Bergeron, Maynard Ferguson, Paquito D’Rivera, Bill Reichenbach, the Jeff Hamilton Trio, Byron Stripling, and Jeff “Tain” Watts.

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

The concert at the TMEA convention will feature jazz trumpeter, Byron Stripling, performing with Jazz Band I. Texas Tech University Symphonic Wind Ensemble Sarah McKoin, Director The Texas Tech University Symphonic Wind Ensemble, led by Director of Bands Sarah McKoin, is the premier wind ensemble at Texas Tech, performing a balanced mix of traditional repertoire and chamber music, while interacting with leading contemporary composers of our time. Emphasis is placed on the highest artistic standards and professionalism

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in performance excellence while offering pedagogy for the advanced musician.

Previous performances have included Carnegie Hall, the College Band Directors National Association Conference, and the TMEA convention. The TTU band program maintains the rich tradition of excellence at the university with a new vision for the future while honoring the heritage of its founders and former leaders in D.O. Wiley, Dean Killion, James Sudduth, and Keith Bearden. Housed in the School of Music within the College of Visual and Performing Arts, the Texas Tech band program boasts over 500 students participating in any number of our five concert bands, jazz bands, studio ensembles, and the infamous “Goin’ Band from Raiderland.”

Katy HS Jazz Band Terence Gorton, Director The Katy jazz program includes three bands that meet during the school day and various combos that meet before or after school. These groups perform numerous concerts, festivals, gigs, and community events throughout the year. The premier ensemble is the Katy HS Jazz Band under the direction of Terence Gorton.

Since being re-established in 1981 by then Associate Director Jamie Morris, the Jazz Band has consistently focused on authentic stylistic performances, sightreading, and improvisation.

In 2002 the Katy Jazz Project was established by then Associate Directors Bruce Melville and Damon Archer to become the training band for the program and offered an opportunity for nontraditional big band instrumentalists to participate in the art form. The Katy Jazz Project is currently directed by Andrew Lee. The Lab Band, established this year under the direction of Dale Fremin, is a beginning level ensemble of only rhythm section players that performs with our

top jazz wind players in a combo setting. A vital part of the program is the various small combos that meet outside of school hours to rehearse, jam, and even gig. These primarily student-run groups further develop the improvisational skills introduced in the larger big band settings.

Terence Gorton has degrees from Louisiana State University (BME) and the University of Southern Mississippi (MM) and is currently in his sixth year as Director of Bands at Katy HS.

Texas A&M University-Kingsville Jazz Band I

Sam Houston State University Wind Ensemble Southwestern Musician | January 2013 33

Texas Tech University Symphonic Wind Ensemble

Texas A&M University-Commerce Wind Ensemble

Katy HS Jazz Band

34 Southwestern Musician | January 2013

WANDA L. BASS SCHOOL OF MUSIC

9 8 y r a u r b e F 9 8 h c r a M TO SCHEDULE AN AUDITION:

www.okcu.edu/music ocuauditions@okcu.edu

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

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U N TS O C S I ET D K C ncert I o T c s P t U n RO side NEW G ea.org/pre m www.t

featuring HĂĽkan Rosengren

CLARINETIST H Ă&#x2026;KAN ROSENGREN has appeared as concerto soloist in Europe and the United States, has performed in recital throughout Europe, the U.S., Israel, and Asia, and has made numerous festival appearances around the world.

Rosengrenâ&#x20AC;&#x2122;s repertoire includes all the traditional works for clarinet solo and chamber music, and he is a champion of new music. Composers who have written and dedicated works to Rosengren include Anders Eliasson, Poul Ruders, Jan SandstrĂśm, Henrik Strindberg, Alexander Lason, Nikola Resanovic, and Frank Ticheli. Chinese-American composer Chen Yi is writing a concerto for Rosengren to be premiered in 2014.

As featured soloist for the 2013 TMEA Presidentâ&#x20AC;&#x2122;s Concert, Rosengren will be performing the Clarinet Concerto written for him by Frank Ticheli.

www.tmea.org/presidentsconcert Purchase $15 general admission tickets when you preregister for the TMEA Clinic/Convention.

Tickets will be available to pick up in the registration area at the convention.

36 Southwestern Musician | January 2013

HĂĽkan Rosengrenâ&#x20AC;&#x2122;s appearance is sponsored in part by

Competitive Scholarships & Performance Awards

Audition Dates November 17, 2012 January 26 – 27, 2013 February 23 – 24, 2013 (see website for details)

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

Music Department Faculty Jason Hoogerhyde, Department Chair

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 Lindsey Evans

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

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

Music Education

Theory & Composition

Lois Ferrari Kenny Sheppard

Jason Hoogerhyde Eileen Meyer Russell Kiyoshi Tamagawa

Strings

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

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

ach week I find myself in the classroom with beginning instrumentalists, junior high band students, high school musicians, undergraduate music education majors, and current teachers earning masterâ&#x20AC;&#x2122;s degrees in music education. Among the many things all these individuals have in common is that each is seeking to fill their own toolbox with knowledge, skills, concepts, ideas, and sources of inspiration. As teachers, it is our responsibility to best provide our students that which they need to be successful.

I am often asked what book I use, and I always reply that I use the one my student needs, and that I may have to create it myself.

My response reflects my sincere belief that I must do the work for every student I teach, and, because one size does not fit all, there is no one book for all students. The answers we are seeking are not always found in a particular book, lip slur, or exercise. Certainly we use method books and materials as tools, but we must also have other appropriate tools on hand so our curriculum can conform to meet the individual needs of each student we teach.

So how do we meet our studentsâ&#x20AC;&#x2122; individual needs? To start, I believe all teachers should have their own set of tools. These tools are meant to provide clarity, consistency, accountability, and comfort. Here are a few of my more conceptual tools: 1. Good or bad, whatever is happening in my classroom, I am somehow giving permission for it.

2. I must wrap my brain around teaching. There is no method or formula that will work with every student or every class. One size does not fit all.

38 Southwestern Musician | January 2013

3. Teaching is hard but totally worth it! As teachers in charge, we must take responsibility for the state of our classrooms.

When results are not what we would like, we have to first ask ourselves, â&#x20AC;&#x153;How am I giving permission for this?â&#x20AC;? â&#x20AC;&#x153;Am I giving these students what they need?â&#x20AC;? Generally, in classrooms that are not succeeding, the answer is no. We must remember all classes are not the same and we must individualize our teaching. Strive to teach the individual in the classroom setting. Embrace the challenges presented to you. By conscientiously and creatively wrapping your brain around teaching, the tools you attain will allow you to become a more effective and comfortable teacher.

4. I must do the work for every student I teach. Donâ&#x20AC;&#x2122;t misunderstand this statement. I absolutely do not mean to exclude student responsibility in the learning process. For a moment, think about a beginning instrumentalist. Imagine this beginner is going to play the bassoon and the bassoon will be provided by the school. Itâ&#x20AC;&#x2122;s our responsibility to ensure that the instrument works properly and has the correct bocal and an appropriate case. It is our responsibility to teach the student how to care for the instrument and how to obtain and maintain quality reeds. Furthermore, it is our responsibility to know how to teach the bassoon to that beginning student and provide the tools for success. This requires a huge commitment on our part, and more often than not, I see many teachers who take this responsibility far too lightly.

A breakdown in the learning process occurs not only when a student fails to do their work, but when a teacher fails to do the work for the studentâ&#x20AC;&#x201D;the work only the teacher can provide to ensure the studentâ&#x20AC;&#x2122;s ultimate success.

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5. I must teach my students to use the information they have. Skills and information are of no value to our students unless they know when and how to reach for the right tools in their toolboxes. Our role includes the responsibility to show our students how to independently use acquired tools.

] Vocabulary/Music Reading: I believe vocabulary is an undervalued component of our curriculum. Your students must ultimately possess and be able to utilize the same vocabulary as you. Young musicians must be able to recognize and verbally identify musical symbols, terms, intervals, and chord structures. Some do not learn to read music in the early years of study. I have found that most students who cannot read music lack the ability to readily recognize and identify musical symbols and terms. Build a vocabulary with your students. Teach your students to use their voices. Expect them to be able to express themselves verbally in musical ways. This is an important part of music

study and stimulates musical growth and understanding. The teacher should set a good example by behaving as a musician and teaching music as fine art. Use proper words for musical terms. â&#x20AC;&#x153;Caesuraâ&#x20AC;? is such a beautiful word compared to â&#x20AC;&#x153;railroad tracks,â&#x20AC;? so why not use it?

G

Teaching self-awareness to young musicians begins the day that body balance and posture is introduced. We use our bodies in four equally important ways: for balance, resonance, breathing, and interfacing with the instrument.

Understanding the significance of body balance, breathing, and sound production is certainly a developmental process for all musicians. For a moment think about your own personal journey as a musician in regard to your bodyâ&#x20AC;&#x2122;s relationship to your instrument. You will quickly realize this enlightenment did not happen overnight. Throughout the arduous process of learning body balance we must remain vigilant. I tell my beginner trumpets that I am going â&#x20AC;&#x153;to build me some trumpet players.â&#x20AC;? We start each day from

the ground up with the feet, spine, chest, shoulders, head, and hands. It is essential for your students to â&#x20AC;&#x153;look rightâ&#x20AC;? from the beginning.

The greatest gift you can give your students is helping them develop a face that works. I believe that I can teach every student to look right and make a great sound.

I believe you can, too.

One of my tools to help build proper faces is the acronym CHAT: C: The corners of the mouth must be either in their natural place or inward depending upon the instrument. They should never be stretched outward.

H: The head must be balanced, feel weightless, and be positioned to allow air to flow freely, without obstruction.

A: The angle of the instrument must comply with the placement of the head to create proper air direction. This can be slightly different for each student and requires critically close attention.

T: The tongue is relaxed and forward (except for clarinetists whose tongues should be raised in the back). More often than not, tension in the tongue creates tension in the jaw and ultimately affects the sound quality produced. Also, be aware that the corners of the mouth and tongue work in tandem and remember that all mouths and tongues are not the same.

Work with each student to help them find the balanced relationship between the corners and the tongue to enable an effortlessly produced tone quality.

Our music programs are made up of all kinds of students at very different levels. Some are ready to fly the moment they open the case. Others take longer. I have seen many students who get to high school and then take off, surpassing those who were the stars in middle school.

Whether they are early or late bloomers, we must assure that in their toolbox our students have a face that worksâ&#x20AC;&#x201D;the one we helped them build.

When teaching tone concepts, do not confuse volume with resonance. When you ask your students to â&#x20AC;&#x153;blow more airâ&#x20AC;? or â&#x20AC;&#x153;blow faster,â&#x20AC;? does that mean a more resonant sound will be produced?

My answer is almost always no. Forced air does not create resonance. The body, the breath, the embouchure, and the

40 Southwestern Musician | January 2013

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Having the embouchure well in place is the prerequisite to teaching articulation. If the embouchure is correct, articulation should come easily. Keep in mind that articulation does not kick-start the tone but rather decorates the inception of the sound with varying levels of strength.

Use modeling when teaching tonguing.

Have students listen to a correctly dem-

onstrated articulation. Through selfdiscovery and assistance from you, they will learn to duplicate that same sound.

Sometimes I think we confuse pulse with rhythm. I like to think that pulse has its own special compartment in our toolbox. Students first develop a sense of the downbeat pulse through activities that include kinesthetic repetition, such as jumping rope, dancing, clapping, or stomping. Most beginning instrumental-

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ists come to us with a good sense of the downbeat pulse. We must take it to the next level by turning our students’ attention to the division of the pulse, using counting, singing, saying, clapping, and tapping to develop the ability to coordinate the upbeat pulse.

I teach the math of rhythmic truths.

No matter what time signature, there are always eight eighth notes in a whole note, always four eighths in a half note, and so on. A quarter note is not always one count, but it is eternally equal to two eighth notes. I encourage you to wrap your brain around teaching pulse and rhythm. First of all—it’s fun! Find creative ways to engage your class and learn to feel the math of rhythm!

6 6

As teachers, we must never impart a selffulfilling prophecy upon our students. It is not up to us to determine the fate of our students, but rather to prepare them for a state of readiness.

I am passionate about these statements on a very personal level. This is my story.

You may recognize it yourself. I was not one of those students who opened the case and was ready to fly. It took me three long years to find my way. Many times I wanted to give up, but there was always someone there nudging me along, mostly my mother and my beloved band teachers, Russ Reed and Dixie Detgen. My mother and my teachers did not judge me. They provided me with the necessary tools. When I was ready to fly it was glorious! My teachers had essentially handed me the world, and I thank them.

We can and we must strive to prepare every student we teach for a state of readiness. We must do the work for our students and never impart a self-fulfilling prophecy on them. Through our own love of music and teaching we must freely and abundantly give our students necessary tools and keep shining the light, even for those students who seem to be faltering. Let’s go hand our students the world today!

Lynne Jackson teaches music education at Southern Methodist University and also serves as a wind pedagogy specialist for Richardson ISD.

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

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

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

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

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

ORCHESTRA NOTES IMPORTANT DATES January 15—All-State student housing online entry deadline.

January 23—Deadline to cancel a convention hotel reservation without penalty.

January 24—TMEA convention online preregistration deadline.

February 13–16—TMEA Clinic/Convention in San Antonio.

Audition Procedures B Y

L I S A

M C C U T C H A N

I

have lately wrestled with the idea of writing an article that could help the majority of TMEA members understand some of the Orchestra Division processes and procedures. As most of you know, every division differs slightly from the other. In the end, however, we are all here for students, making a difference in their lives through music enrichment.

One year ago, as a new Orchestra Division Chair, I finally saw how the All-State procedures ran. It was so different to me on the administrative rather than the judging end of the contest.

My biggest issue with the Area contest was that each judge did not hear all of the students on the First Round of listening. The violin panels were made up of four panels the first day and two panels the second day. The viola, cello, and bass panels were made up of two panels the first day and one panel the second day. In the violin room on the second day, the CDs were rotated.

From the four violin rooms in Round One, 25% of students advanced to Round Two. The only change that occurred this year was that in Round One, all of the students were heard by each judge. The violins had a total of three panels in

Our students give their best throughout the audition process. As their directors, we should be aware of the procedures to ensure we can best support our students in their endeavors.

44 Southwestern Musician | January 2013

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Round One and the viola, cello, and bass had a total of two panels in Round One. In Round Two, the All-State round, violins once again had a total of three panels and the viola, cello, and bass each had one panel. This created a more accurate adjudication procedure in Round One. All judges in each room used the panel scoring method. Each judge’s raw score was converted to a rank, and the high and low rank for each student in each panel was dropped and the remaining three scores created a total that was then converted to a panel ranking. Each student then had a panel rank from each judging panel.

Violin had three panel ranks and ties were broken by panel preference—best two of three panel ranks. Viola, cello, and bass had two panel rankings and ties were broken by panel one preference (panel one rank). Every panel on day one heard an etude and an excerpt. Violins were similar on day two. This year it seemed we had too many tracks for the violin panel— something that can easily be addressed for next year.

Round One and Round Two are two separate contests. If a student scored a rank of 25 on the first day, they could

HS Honor String Orchestra Results Congratulations to the following orchestras and their directors for this outstanding accomplishment: Rank

School

ISD

Director

1

Westwood HS

Round Rock

Susan Williams

2

Plano West SH

Plano

Jo Wallace-Abbie

3

Martin HS

Arlington

Michael Stringer

4

Plano SH

Plano

Brian Coatney

5

Jasper HS

Plano

Ryan Ross

6

Klein HS

Klein

Keith Markuson

7

Plano East SH

Plano

Betsy Thomas

8

McCallum HS

Austin

Ricky Pringle

9

Austin HS

Fort Bend

Carolyn Vandiver & John Law

10

Bellaire HS

Houston

Kathryn Brown

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Westwood HS Symphony

might not be widely understood.

The contest office ran very smoothly this year. I invited Michael Stringer, Craig Needham, and David McCutchan to help with tabulations. We worked in pairs checking data as it was entered. TMEA Deputy Director Frank Coachman and Information Technologist Andrew Denman resolved CD issues as they occurred.

To help with future contests, Region Chairs should ensure all CDs are finalized and that all students are playing the tracks in the exact order as they are posted. It is also necessary to have backup CDs. It saddens me that a student could be penalized by the failure of an adult to not follow procedures.

Due to social network postings that occurred last year, I decided not to post each student’s raw scores on the TMEA website. Teachers were able to contact Frank Coachman, Andrew Denman, or me to obtain these scores. Directors should never give anyone access to their TMEA password-protected account. This year, the rankings once again ended up on Facebook because a student had access to the password-protected account of a director. It is incumbent on us to prevent this from happening.

High School Honor String Orchestra Congratulations go to the 10 High School Honor String Orchestra finalists and their directors. We applaud them for their incredible submissions.

The 2012–2013 Honor String Orchestra is Westwood HS Symphony under the

direction of Susan Williams, and we look forward to their performance during our upcoming convention.

Westwood HS Symphony Susan Williams, Director Westwood HS is a 5A school with an enrollment of 2,678 students in grades 9–12. Located 17 miles north of downtown Austin, Westwood is one of five high schools in the Round Rock ISD. Susan Williams has been the orchestra director at Westwood since 2001.

New Round Rock ISD staffing allocations were funded in 2012 and Associate Orchestra Director David Chisum joined the Westwood HS faculty. The orchestra program at WHS currently has 170 student members. The students are placed by live audition into one of three string orchestras that meet every other day for 90 minutes.

WHS takes three full orchestras and three string orchestras to UIL Concert and Sightreading Contest, at which all six ensembles have consistently earned Sweepstakes awards. The Symphony Orchestra has received Sweepstakes awards for the past 26 years.

The Westwood Symphony’s Honor String Orchestra performance at TMEA in 2013 will be their fourth appearance as a TMEA Honor group. Under the direction of Conductor Emeritus Jerome Brillhart they performed in 2000 as the Honor Full Orchestra. Under the direction of Susan Williams and Jack Green, they were Honor Full Orchestra in 2006 and 2010.

The foundation of the WHS Orchestra program is built at Canyon Vista MS under Elizabeth Frederick and Grisham MS under David Chisum. Special congratulations to Frederick who will be making her fifth Honor group appearance at the 2013 TMEA convention with the Canyon Vista MS Honor String Orchestra.

2013 TMEA Clinic/Convention Update With our convention just one month away, I hope you have preregistered and made your hotel reservations online (www.tmea.org/convention). I also hope that you used your December issue of the magazine to begin planning your time at the convention. The schedule is also available at www.tmea.org/convention where you can build, save, edit, and print a personal schedule. This is also your first step to creating your continuing professional education record after the convention.

In addition to over 300 clinics from which to choose, there are myriad concert opportunities, including our 2013 President’s Concert featuring the Dallas Wind Symphony under the direction of Jerry Junkin. To purchase tickets go to www.tmea.org/presidentsconcert or purchase them when you preregister.

In addition to the performance by the HS Honor String Orchestra featured here, be sure to include in your convention schedule concerts by our other Honor Orchestras featured in the November issue. Our congratulations go to each of the orchestras and their directors. We look forward to witnessing the culmination of their hard work next month!

Southwestern Musician | January 2013 49

B

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easoned choral musicians know that professional change is inevitable and have likely realized that leaders within the profession can either shape the change or adapt to the change they simply allow to occur. Since there is an element of choice embedded in almost any evolutionary process, it may be valuable for each of us to reflect on the present and isolate important choices that lie ahead, perhaps considering issues from two perspectives: the big picture (a look across the entire profession, i.e., the greater good) and the little picture (personal choices based on individual needs or preferences). I would further suggest that an over-arching principle should guide professional choices: do no harm. In other words, be sure choices made for the little picture donâ&#x20AC;&#x2122;t create unintended consequences that undermine the big picture, and vice versa.

Societal Evolutions We Cannot Ignore Among the many educational issues affecting choral music programs and teachers, four related issues will be addressed here: technology and students, a need for relevant pedagogy, public/political support of the profession, and the cost of allowing music teachers and programs to fail. Though individually worthy of study, these topics become even more important when viewed in relationship to each other. Much like falling dominoes, when one is moved, it affects the othersâ&#x20AC;&#x201D;evolving choral students may require changing pedagogy, the perception of which could affect the level of support by public/political leaders who could also choose to limit support for failing music programs. These issues do stand alone, but they are also interrelated.

Southwesterrn Musician | January 2013 51

Choral teachers must decide which parts of the choral culture, both academic and social, need to evolve along with the students.

Choral music leaders in every state maintain sharp focus on issues facing music programs generally, and choral programs in particular. While these leaders do speak for the membership, a case can be made that all choral professionals should gather information and think critically about what action is needed and for what purpose. To that end, each of the following sections will conclude with a leadership agenda. $GGUHVVLQJ 7HFKQRORJLFDO ,QĂ XHQFHV on Students in Music Classes Technological advances affect how we all live our lives to some degree and do absolutely affect students who walk into choral rehearsals. One example is a paradigm shift in the decision-making process. For some, making a decision now involves social media. Todayâ&#x20AC;&#x2122;s student might strongly consider the immediate feedback that 50 of their social network

52 Southwestern Musician | January 2013

friends offer. This is surely a change from simple peer pressure and certainly diverges from a sequenced decision-making model taught by guidance counselors.

Another example might be the evolution of personal organization and long-term planning. More than a few students live in the moment and simply text or call to make arrangements spontaneously rather than leaving home in the morning with a well-planned day ahead. Choral teachers must decide which parts of the choral culture, both academic and social, need to evolve along with the students.

Continuing to teach students as we always have ignores the fact that many students are no longer who they always were.

For professional leaders, understanding student changes and differences and creating an environment in which students can thrive, or at least survive, is essential. In order to accomplish this, leaders must strive to be informed and remain current.

Changing Pedagogical Approaches for Evolving Students With societal and school cultures constantly evolving, how teachers provide instruction needs to be considered.

National reform movements have broadened support for music programs based on the rationale that life is richer and better when the arts educate human emotions and create opportunity for aesthetic experiences. From this positive step came the reality that, if this rationale is true, all should have arts access. Another outcome of validating the arts has been that, along with teaching highly motivated and talented students, choral conductors also face students who choose to join a choir but may lack training, talent, or both. Therefore, in some choirs, current practice leads to excellent learning and performance, but with less able students, current practice may lead to frustration and less acceptable performances, reflecting student lack of training or ability and perhaps reflecting the teacherâ&#x20AC;&#x2122;s struggle with nontraditional singers. Thus, these developing musicians need developmental choirs. Developmental teaching recently has been addressed in multiple

publications (Babb, 2012; Bowers, 2008, 2011), and information relating to such topics as adapting literature, developing appropriate vocal technique, selecting high-quality teaching materials, and teaching for transfer through use of rules for expressive singing can easily be accessed by choral teachers/conductors.

The leadership implication for music pedagogy is that singers in developmental choirs need teachers who provide systematic instruction, sequenced to help them reach a level of independence that fosters a lifetime of independent music making.

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Examining Public/Political Support Levels Thorough analysis of public and political support for arts programs is well beyond the scope of this discussion, but there is an issue that choral musicians should contemplate: connections between arts participation and academic success. We are well past the rather simplistic “music makes you smarter” conversations, but other possible links between music and academic success have been discovered and reported. The Florida Department of Education provided data for arts

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enrollment and academic and social success. Examination of the 2007–08 school year (Kelly, 2009) indicated that all Florida secondary students experienced a positive relationship between academic achievement and arts enrollment. No statistical analysis was performed that might suggest one caused the other, but, simply stated, students taking arts classes scored higher grades, higher SAT scores, and had lower dropout rates than those students not taking arts classes. This was true for students taking only a single class for one semester, though gains were greater when students studied across four years.

A second analysis was recently completed using 2010–2011 Florida data, and findings were similar, despite more students enrolled in the arts. Because all student records were examined, the resulting academic/arts connections occur across all student populations, including at-risk, poor, minority, second-language, privileged, high-achieving, and talented.

West Virginia completed a similar analysis using state data from 2006–2007 and found that students taking arts courses outperformed non-arts students on almost every indictor (Whisman, Hixson, 2012), even when data were disaggregated for disability and poverty. West Virginia students were 1.6 times more likely (students with disabilities were twice as likely) to reach proficiency in reading/language arts if they took two or more arts credits, as opposed to the required single credit.

The findings in Florida and West Virginia are not provided to suggest that these connections should justify providing fine arts programs. Music philosophers have long made the case that the arts are a vital part of education because they are a vital part of life. However, when decision makers face difficult choices about funding the arts, and particularly if they do not share a value system that includes the arts as a critical educational component, then providing additional findings regarding academic benefits seems an attractive option.

For professional leaders, the question should be, “What will be the result if a time comes when test data are not related to arts enrollment?” Is there danger in courting public support through non-musical channels? Is it worth the risk?

Evaluating the Costs of Letting Music Programs Fail Along with failing music programs due

Texas Fine Arts Enrollment and Academic Ratings

S

imilar to the results provided in this article from Florida and West Virginia, analysis of Texas enrollment and academic rating data shows a correlation between involvement in the arts and higher academic success. From the Advocacy section of the TMEA website, you can download a PowerPoint presentation that includes FRPSHOOLQJ UHVHDUFK UHVXOWV DERXW ÀQH arts education, including state-level enrollment data showing how camSXVHV ZLWK KLJKHU ÀQH DUWV HQUROOPHQW

have higher academic ratings and graduation rates. This presentation is designed to be customized to include \RXU VSHFLÀF FDPSXV GDWD In addition to this PowerPoint, the Advocacy section includes several articles highlighting research results RQ WKH FRQQHFWLRQ RI ÀQH DUWV VWXG\ WR cognition as well as the important role ÀQH DUWV HGXFDWLRQ SOD\V LQ WKH GHYHOopment of students ready for participation in the 21st-century workforce.

w w w.t mea.or g /ad vocac y mater ials to systemic failure or ill-prepared teachers, there exists the potential for increased failing music programs resulting from the possible intersection of the three issues already discussed: changing students, unchanging pedagogy, and diminished public support for funding arts programs.

As change occurs, each choral music teacher must determine what is needed for sustaining their music program.

This past summer I worked with Minnesota church and school musicians for a week, and I began by asking them to accept three goals that must be honored to sustain their programs through change: the choir must still be good, singers should experience a sense of pride in their work, and an aesthetic experience frequently must be possible. These three simple guidelines can filter any decision for change, and can safely shape choices such as literature selection, teaching style, rehearsal pacing, concert demands, time commitment, and more. It is possible to remain true to these guidelines and still have a very successful, evolving choir. So, why is this important? Because well-trained teachers are necessary for this to happen, and currently there are struggling teachers and programs in every state.

While competition and high performance standards are worthy goals I personally value, it seems incomprehensible that we allow high achieving teachers with high achieving school programs to function in some degree of isolation from those less successful. Clearly, helping others is

a professional value, because district and state mentoring programs have been evident throughout every part of school culture for more than two decades. However, the top-down approach created with good intention has been less than successful in many settings.

I would suggest that every teacher look around the district—even sprawling urban districts—and find a teacher or school that needs help. The retention rate for young teachers is already abysmal, so even a failed attempt on your part should not be feared. I have spent more than 20 years creating partnerships, and I strongly recommend considering this approach.

Something as simple as an Adopt-a-Choir program can be helpful (a short-term connection between two choirs that allows weaker groups to join stronger groups).

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TCU Director of Chorale Studies, Dennis Shrock conducts the TCU Concert Chorale in Fort Worthâ&#x20AC;&#x2122;s St. Stephen Presbyterian Church

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not dropping out of music.

Extended partnerships can also be created, such as the pairing between my university students and an inner-city middle school that was struggling to manage demographic change. This type of partnership is more complex, but it serves to provide outstanding field experience for university students, while also stemming the public school academic slide.

High achieving students now transfer in to enjoy the benefits of working with university students.

Another partnership with the Memphis City Schools has taught me that urban schools can indeed be improved, and it begins with teacher development and support. The Middle School Memphis Project retrained every middle school choral teacher as if each was an undergraduate preparing for initial certification. The partnership between the University of Memphis and the Memphis City Schools, where I served as consultant to provide choral content, has reclaimed many discouraged or ill-prepared teachers, and those who already were strong teachers are now the leaders who annually train and mentor new choral faculty, removing the need for a consultant. Professional leaders desiring public/political support of music programs benefit greatly when healthy programs exist across the entire population, as this indicates that music programs (with some degree of success) are available for all students.

For professional leaders, the goal should be to encourage at least occasional collaboration and to inspire choral teachers to reach out to those who are struggling or failing. As with our choral ensembles, when every member is strong, the choir is so much better and easier to manage.

As professional choral musicians in school, church, and community settings, we know the value and the power of providing a rich musical experience for those in our care. Along with the musical leadership that each conductor-teacher brings to choral rehearsals, we should not forget that our influence moves far beyond the rehearsal room walls.

Simply by choosing to lead, each of us can contribute to the professional greater good. As society, schools, and students evolve, professional leaders must work to remain current, to think critically, and to solve problems. When all are contributing to professional growth and knowledge,

the benefits can be great. Designated leaders do a great service when speaking for the profession, but how much better could they lead if every member chose also to contribute as a leader. So begin today. Remain current, think critically, and solve problems. Lead!

2010, from http://flmusiced.org/dnn/ Advocacy/12GradeCohortFineArtsEnr ollmentComparison.aspx.

References

Whisman, S. A., Hixson, N. K. (2012). A cohort study of arts participation and academic performance. Charleston, W V: West Virginia Department of Education, Division of Curriculum and Instructional Services, Office of Research.

Babb, S., Bowers, J., Garrett, M., Napoles, J., Reames, R. (2012, October). On the Voice Series: Beautiful Singing with Developmental Choirs. The Choral Journal, 53 (3), 45–53.

Judy Bowers is a professor of choral music education at Florida State University College of Music and is the 2013 Vocal Division featured clinician.

Bowers, J. (2008). Building Early Choral Experiences, The Middle School Program, in Holt, M., and Jordan, J., The School Choral Program: Philosophy, Planning, Organizing, and Teaching, Chicago: GIA Publications, Inc. Bowers, J. (2011). Structuring Success in Beginning Middle School Choral Ensembles, in Teaching Music through Performance in Choir, ed. Frank Abrahams. Chicago: GIA Press.

Kelly, S. N. (2009). 2007–2008 twelfth grade cohort and fine arts enrollment comparison. Retrieved December 17,

Do you have students interested in music business?

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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 | January 2013 57

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The art of communication B Y

J A N W I N

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

O

ne of the most important aspects of our jobs as choir directors is effective communication.

We communicate physically with our students through conducting gestures, but we also have to be effective verbal and written communicators—and not just about the music we are rehearsing and performing.

Communicate with your parents; establish an email database and send regular updates. These can include calendar events, uniform information, concert requirements, and more. Be very specific and precise. Emails do not need to be friendly or chatty— be businesslike and thorough. Weekly or biweekly emails can be quite useful. If you keep an email file, you also have a way of proving that you did remind the parents about your upcoming concert or payment deadline.

Emails are also an effective means for replying to parent and administrator concerns. Just be sure that you don’t send an email when you are angry.

Let some time pass, reread the email, remove any negative comments, reread it again (and again), and then send it.

If you are meeting with your principal or other administrator to share concerns, have solutions or options to offer. If you are requesting additional staffing for your program, have comparable numbers from similarly-sized programs to present. Give justification for what an additional director could do to strengthen your program and how your students will be affected. Have similar validations for any other concerns—budgetary, programming, or scheduling. Be prepared to provide solutions rather than only voicing complaints.

When you speak directly to parents about their child, listen first. If this is a conversation about their child’s singing (an audition result, not being chosen for a solo, etc.) remember that every parent believes his or her child is a talented singer. Have facts to support any decisions you have made—Region audition results, solo and ensemble ratings, or grades. If you are involved in

VOCAL NOTES IMPORTANT DATES January 12—Area Vocal and Band auditions.

January 15—All-State student housing online entry deadline.

January 23—Deadline to cancel a convention hotel reservation without penalty.

January 24—TMEA convention online preregistration deadline.

February 13–16—TMEA Clinic/Convention in San Antonio.

We have to be effective verbal and written communicators—and not just about the music we are rehearsing and performing.

Southwestern Musician | January 2013 59

a phone conversation with a parent that turns negative, schedule an appointment to speak to the parent personally and end the phone call as quickly as possible. Have an administrator present for the meeting if possible.

Written communication with students is also important. Today’s students grew up as part of the digital generation, and they are firmly attached to their cell phones. If you can communicate with them via text messages, you will reach the majority of your singers (most of them don’t check email on a regular basis—I have given up on that resource as a means of communicating with my choirs). Twitter is another option for student communication. Set up an account and invite your students to also set up an account. This could be very useful on trips or for specific school events (e.g., musicals or UIL events). Before you do either texting or tweeting, be sure your school or district allows this form of communication and consider getting parental consent as well.

Facebook has become a major component of our social lives. If your school district permits, establish a Facebook account

for your choir program; this can be a great tool for communicating with students and parents. I would strongly encourage you to not “friend” your students on your personal Facebook account. Many districts will also not allow you to do this.

Communication is key for a successful choir program. Strive to perfect your verbal and written skills every day.

TMEA Clinic/Convention Update With our annual convention just over a month away, I hope you are getting even more excited about learning, reconnecting with colleagues, and enjoying a few days dedicated to your professional growth in beautiful San Antonio! Be sure to take time in advance to build your personal schedule online. You’ll be one step ahead for creating your continuing professional education record when you return home.

Twelve Invited Performing Choirs will represent the Vocal Division at the 2013 TMEA Clinic/Convention, six of which were featured in the November issue.

Learn more about the other six below, and be sure to make room in your schedule to hear these outstanding Texas choirs!

2013

Auditions

Briarhill Varsity Treble Choir Donna McGinnis, Director Briarhill MS is a TEA Exemplary campus serving approximately 1,000 students in grades 6–8. Built in 1995, Briarhill is located in Highland Village and serves its community as well as the town of Copper Canyon and part of the city of Lewisville.

The Briarhill choir, band, and orchestra programs are consistent UIL Sweepstakes award winners. The Briarhill Varsity Treble Choir includes select seventh- and eighthgrade girls who show tremendous dedication to creating artistic choral performances.

Many of these young musicians are also members of Briarhill Band or Orchestra.

The Briarhill MS Choral Department is part of the Marcus HS cluster in Lewisville ISD. The ensemble is under the direction of Donna McGinnis, who joined the Briarhill faculty in 2007. During the past six years, the Briarhill Choral Department has experienced exponential growth in enrollment and excellence. Under McGinnis’s direction, Briarhill Varsity Treble Choir performed at the 2012 Cambiata Institute of America/American Choral Directors Association conference in Dallas.

Music

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

Contact Scott Deppe to schedule audition: scott.deppe@lamar.edu 60 Southwestern Musician | January 2013

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

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Krimmel Advanced Treble Choir Tescille Riser, Director Krimmel Intermediate School is a TEA Recognized grade 6–8 campus in the Klein ISD. The Krimmel Fine Arts Department involves band, choir, orchestra, theatre arts, and art instructed by eight faculty members. All sixth-grade students in Klein ISD must take one of these subjects as an elective. More than half of these students continue to be involved in fine arts courses in their last two years of intermediate school. The Krimmel choirs consist of approximately 120 students involved in four performing ensembles. The Krimmel Advanced Treble Choir is a select varsity group of 32 seventh- and eighth-grade girls, annually earning UIL Sweepstakes awards.

Many of these students are involved in extracurricular activities such as athletics, National Junior Honor Society, Environmental Club, KnightTime Players, Knights 4 Christ, Cheer, K-Rock Coalition, Student Council, and more.

This group was featured in performance at the 2009 Texas Computer Educators Association Convention, represent-

ing the use of technology in secondary music education. Tescille Riser has been in Klein ISD for eight years. During that time, she has served as the choir director at Hildebrandt for two years and at Krimmel Intermediate for six years.

North Crowley HS Varsity Men’s Choir Robyn Hollimon, Director North Crowley HS is beginning its 15th year as one of two high schools serving a diverse population of over 15,000 students in the Crowley ISD. Located in the southwest corner of Fort Worth, NCHS is particularly known for its consistent pursuit of excellence in the fine arts and extracurricular organizations. One of six performing ensembles at NCHS, the Varsity Men’s Choir is known for its eclectic and exciting performances. The choir is known for the skill, work ethic, and dedication of its members who have excelled not only in UIL, TMEA, and ACDA choral and vocal competitions, but also in collegiate, regional, and national high school programs in choral studies, musical theater, and opera. In March 2012 the Varsity Men’s Choir performed at the

SWACDA convention. Members are also involved in band and theater as well as in a variety of athletics and school organizations, and they maintain a full schedule of combined performances with the NCHS varsity women’s choirs. Robyn Hollimon is in her 13th year as choral director at NCHS and sixth year as director of music at Genesis UMC in Fort Worth.

Pearland HS Chamber Choir Derrick Bready, Director The Pearland HS Chamber Choir is a 75-voice varsity level mixed choir consisting of 10th–12th graders. Each singer demonstrates superior vocal and sightsinging ability through auditions each spring. Among these singers are football, softball, tennis, volleyball, swim, and cheerleading athletes, and a strong academic excellence standard is maintained by all. The Chamber Choir performs in all major concerts of the Pearland Choir year including the annual dessert theatre “Broadway Nights,” the Christmas “Sounds of the Season” concert, UIL Concert and Sightreading contest, the annual musical, and end-of-year pop show. In 2011, the Chamber Choir began a new tradition of presenting mini-major works by classic composers. Last year they performed Vivaldi’s Magnificat in G Minor with professional singers and orchestra. At UIL contest, the Chamber Choir, as well as the Chamber Women’s and Chamber Men’s Choirs, are consistent Sweepstakes award recipients. The men of the Chamber Choir performed for the SWACDA and the TMEA conventions in 2010 and 2011, respectively.

The Woodlands HS Varsity Treble Choir Bob Horton and Lynn Bull, Directors Choral music at The Woodlands HS has a long tradition of excellence, and 2013 marks the third appearance for a choir from The Woodlands at a TMEA convention, each time under a different director. Students in The Woodlands HS Choir participate in six different performing choirs, involving three varsity choirs, a chamber choir, and two non-varsity treble choirs. The Woodlands HS Varsity Treble Choir consists of 57 10th–12th-grade singers. Students in this choir consistently earn membership in Region and AllState Choirs. Bob Horton and Lynn Bull (who also serves as their accompanist)

62 Southwestern Musician | January 2013

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teach the Varsity Treble choir. Horton has been head choral director at TWHS since 2004, and Bull came to TWHS in 2007.

Both Horton and Bull graduated from Sam Houston State University.

Outside the choir room, these young women are officers in many clubs, student council, and athletics, and they participate in band, orchestra, theater, art, and numerous other activities.

Additionally, young women in this choir have performed many service activities within the community, such as Caroling for the Cure, where they raised several thousand dollars for breast cancer awareness to honor Bull, a breast cancer survivor. These young women have also served as hosts for middle school and high school TMEA and UIL activities.

University of Texas at Austin Chamber Singers James Morrow, Director The University of Texas at Austin Chamber Singers is one of the premier collegiate choral ensembles in North America. Organized in 1957 by Dr. Morris J. Beachy, the group has traveled extensively over their 56-year history.

Their most recent international concert tour was to Brazil where they performed in historic venues in São Paolo and Rio de Janeiro. This outstanding group has performed for numerous music conferences including national conventions of the American Choral Directors Association.

Other recent performances include Monteverdi’s 1610 Vespers with period orchestra, the complete Tenebrae Responses of Victoria, Terry Riley’s Sun Rings with the Kronos Quartet, Delius’s Appalachia

SOMETHING TO ABOUT

sing

with conductor Gunther Schuller, and the North American premiere and first complete recording of Brazilian composer José Maurício Nunes Garcia’s Missa de Nossa Senhora da Conceição. Additionally, they are the chorus-in-residence for the monthly Bach Cantata Project performances at the Blanton Museum of Art. They recorded two CDs of American choral music on the Naxos label, as well as two recordings for Koch International Classics entitled Sweet Music of Christmas and, in collaboration with organist Gerre Hancock, Great Hymns of Faith. James Morrow is in his 12th year as Director of Choral Activities at UT/Austin, where he conducts the Chamber Singers and Concert Chorale and oversees the graduate program in choral conducting. He is founder and artistic director of the professional early music group Ensemble VIII.

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

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

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

Learn more: www.txstatechoirs.org

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

66 Southwestern Musician | January 2013

Pearland HS Chamber Choir

The Woodlands HS Varsity Treble Choir

University of Texas at Austin Chamber Choir Southwestern Musician | January 2013 67

Incorporate Technology to Improve Student Learning and Engagement The TI:ME National Conference held in conjunction with the TMEA Clinic/Convention offers over 80 clinics on music technology.

By Floyd Richmond

T

he Technology Institute for Music Educators (TI:ME) is partnering with TMEA to host the 2013 TI:ME National Conference held in conjunction with the TMEA Clinic/ Convention February 13–16, 2013, at the Henry B. Gonzalez Convention Center in San Antonio. This conference will include over 80 sessions on music technology in the classroom, iPads, software, hardware, recording, Web 2.0, social networking and education, virtual instruments, and much more!

Wednesday Preconference Because of TI:ME’s presence at TMEA, there will be numerous music technology sessions throughout the conference.

In addition to the standard presentation of clinics Thursday through Saturday, however, attendees will have a myriad of learning opportunities on Wednesday at the TI:ME Technology Preconference.

The Wednesday preconference will feature 30 music technology sessions beginning at 11:30 A.M. and continuing throughout the day. At 6 P.M., the University of Birmingham Computer Music Ensemble under the direction of Scott Phillips will present a concert. This concert will be followed by a reception with music technology presenters and TI:ME and TMEA members from around the country.

We hope TMEA members will arrive Wednesday to engage in the music technology sessions, concert, and reception. There is a separate registration process for Wednesday’s preconference activities. When you preregister for the TMEA convention, you can select to preregister for the TI:ME Preconference as well.

If you already preregistered, you can return to the preregistration pages and select this option. On-site registration will also be available.

Conference Focus This year’s conference will include a variety of sessions on music technology with a specific focus on emerging technologies, notation, production software, virtual and electronic instru68 Southwestern Musician | January 2013

ments, instructional software, and multimedia. Sessions are targeted toward teachers of instrumental music including band, jazz, and orchestra; vocal and choral ensembles; and elementary general music. Some sessions focus on theory, appreciation, and technology. Specific highlights from Wednesday’s preconference are described below.

Emerging Technologies Mobile Computing: The increasing popularity of mobile computing is one of the most significant recent trends in education. Mobile devices include smartphones and tablets such as the iPhone, iPad, Android devices, and other similar devices.

The phrase “There’s an app for that” has entered our common vocabulary, and it demonstrates the usefulness of these devices.

Do you need a tuner, a metronome, a music tutor, a presentation program such as PowerPoint, a production program for recording music, a notation program for playing or creating musical scores, a means of sharing files with students? “There’s an app for that.” Previously, music teachers may have owned multiple devices to assist in their teaching. Many of these functions have been consolidated on mobile devices.

These devices implement many of the features of desktop computers and laptops that have been used by music teachers but in a much more portable format.

Many districts are purchasing tablet devices for their teachers, and some Peterson iStroboSoft for the iPad are even purchasing them

for use by their students. This area is one that is expected to grow significantly in coming years.

Other Emerging Technologies: The TI:ME conference will feature other emerging technologies, including electronic white board systems, high-end recording hardware and software, live student concerts on the Internet, distance technologies, social media, and new techniques for teaching with music technology.

progress can be created. Included in the Wednesday technology preconference are sessions that offer a look at popular music production tools including GarageBand and others.

Notation Year after year, notation software has proven to be one of the most useful music technologies. With it, teachers can create custom arrangements for their students, create warmups and worksheets, project notation while playing scores, and more. Several sessions in the TI:ME Preconference will be useful for both Finale and Sibelius novices and experts. Specific demonstrations scheduled during the preconference include advanced techniques for creating worksheets, teaching composition, and other features of the software such as the latest in scanning and pitch recognition.

Apple GarageBand for the iPad

Production Music teachers record their performing ensembles and classes for several useful educational purposes. This technology enables them to critique their ensemble’s performances and help their students hear what went well and what did not. Student auditions can be recorded, and assessment records that document student

TI:ME Music Technology Preconference PREREGISTER BY JANUARY 24

Instructional Software One of TI:ME’s primary goals is the improvement of music teaching through the use of music technology. Instructional

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

When you preregister for the TMEA Clinic/Convention, you can preregister for this Wednesday preconference. (If you already preregistered, simply return to the preregistration page and select this option.) At only $50, this special concentration of technology clinics is an incredible value.

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Finale Songbook for iPad by MakeMusic; Sibelius Scorch for iPad by Avid

Virtual and Electronic Instruments Electronic instruments are an essential component of any lab used to teach music. Traditional electronic instruments such as keyboards and drums are popular, but virtual instruments are gaining ground. A music teacher might ask, “Should I use a keyboard with built-in sounds or a controller with virtual instruments?” Each has advantages and disadvantages. The preconference lab sessions will help attendees sort through the options.

Increasingly, recorded music includes virtual instruments like those that come with notation and production programs such as Finale, Sibelius, GarageBand, and Logic. Not all of these instruments, however, offer the same quality or features. When the proper virtual instruments are selected and correctly configured, the musical output is significantly improved. Attending the preconference will help attendees learn more about those options.

iPads music labs podcasting assessment social media creating apps free technology digital portfolios website development interactive multimedia

Southwestern Musician | January 2013 69

software often has the most direct impact on students in the music classroom. The instructional software topics covered during technology sessions at the convention will include free music software and applications for special as well as exceptional learners. The TI:ME/TMEA collaboration promises to draw the attention of music teachers to the new potential of instructional technology for the music classroom.

program, a certification program recognizing the achievement of music teachers in the field of music technology, a curriculum leading to proficiency in the use of music technology, and a lengthy collection of music technology publications. TI:ME is a nationwide network of experienced music technology professionals. More information about TI:ME and TI:ME resources may be found on the TI:ME website at www.ti-me.org.

Multimedia Teachers actively use multimedia in a number of ways. They create PowerPoint presentations for their teaching. They record audio and video for use in class. They write blogs and use social media to promote their programs. During the convention, attend multimedia presentations on WordPress (Internet-based Web software suitable for blogs and websites), GarageBand (software suitable for the creation of audio and video projects), and more.

Teacher of the Year TI:ME will be recognizing a Teacher of the Year at the TI:ME/TMEA National Conference. Check the TI:ME website for upcoming information for nomination forms and procedures.

Applicants from Texas are welcome!

About TI:ME TI:ME is a 503(c) nonprofit organization chartered in Pennsylvania and is devoted to the improvement of music education through the use of music technology. TI:ME has been active in the field of music technology since 1998 when it held its first national conference in Valley Forge, Pennsylvania. TI:ME offers music educators a professional community of technologyminded individuals interested in improving teaching and learning in music. TI:ME offers a website with resources for music teachers (including over 600 lesson plans), a membership, a yearly national conference, yearly regional conferences, a state-chapter

Keynote Speaker David Sebald, retired from UT/San Antonio, will present a keynote address for TI:ME entitled, The Future of Music Education, A Geek’s Perspective. The multimedia-rich session will be held Thursday at 12:30 P.M. in convention center room 204.

This year’s national TI:ME conference looks to be one of the organization’s best yet. TI:ME’s collaboration with TMEA significantly enhances the conference.

Floyd Richmond is TI:ME President-Elect.

Note: The iPad pictures included in the article are from an upcoming book by the author.

Southwestern Musician | January 2013 71

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I don’t see any lesson plans!

B Y

ELEMENTARY NOTES

M I C H E L E

H O B I Z A L

H

appy New Year! I am getting ready for our fantastic convention in February, and this leads me to think about the preparations music teachers must make when we have a substitute taking over our classes.

When I know in advance the dates I will be gone, my lesson plans are ready, but the unexpected sick days can result in a mystery about what to do with a substitute who isn’t a trained music teacher. Here are a few suggestions: 1. DVDs: Use DVDs for a quick sub plan that can include an assessment at the end of the movie or clip.

IMPORTANT DATES January 23—Deadline to cancel a convention hotel reservation without penalty.

January 24—TMEA convention online preregistration deadline.

February 13–16—TMEA Clinic/Convention in San Antonio.

a. Biscuit Brothers: I love ’em! Dusty and Buford have a PBS show that is a great tool to teach younger students about melody, rhythm, and dynamics. Tiny Scarecrow is my hero! You can get more information at biscuitbrothers.com. b. STOMP and Blast! These are two of my favorite instrumental groups!

You can find their videos in the Music in Motion catalog. I know I can watch them over and over.

2. Music Centers: Centers are great, but they require previous training with your students so each student knows what to do at every center. Consider several different centers such as listening, games, technology, and composing centers (for more on this topic, see the article by Elasha Edwards and Pamela Griffin published in the October 2012 issue, available in the archives at www.tmea.org/magazine).

3. Activity Sticks: One of my friends uses a large plastic cup filled with popsicle sticks for each grade level. Each stick has a song (page and CD) or activity listed on the stick. The students take turns selecting a stick and then must perform the song or activity listed on the stick.

4. Interactive Whiteboard (IWB) Activity: A new friend of mine from North Carolina, Cherie Herring, created a SMARTboard activity for K–2nd grade. Each student selects a bubble that has a song or activity embedded in

Music can change the world because it can change people. —Bono 74 Southwestern Musician | January 2013

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the page. A recent substitute thoroughly enjoyed this activity with the kids, so I created one for 3rd–5th grades as well.

5. Ring of Fun: My Assistant Fine Arts Director, Mitzi Jones, gave each music teacher a ring with several games and activity cards attached to it some years ago. Each card had very thorough instructions on how to play the game and what would be needed for the activities. I have added to this ring with more games each grade level likes to play.

I leave a substitute notebook on my desk with everything I can think of that could be needed. To be safe, I include worksheets for each grade level (usually a class and a half) along with the activities and suggestions listed above. I usually leave lesson plans on my desk, but I have a section in the notebook entitled “I do not see any lesson plans!” This is where I have all my favorites from above listed in great detail. The substitute should have just as much fun as the students participating in singing and playing the games. Add your own ideas on Edmodo so everyone can benefit from ideas from across the state.

What Does TMEA Have to Offer Me? Answer #4 As we continue to answer this question, consider who is making TMEA so appealing to you. The answer is—the TMEA staff. TMEA offers you an amazing group of people who work tirelessly and endlessly to help you in any possible way. They work year round not only to provide you with an amazing convention experience, but they consistently brainstorm to find ways to offer you more advocacy material, easier information gathering, and keep a close watch on the legislative proceedings and happenings. You will not find a more wonderful, friendly, and informative group of people.

Come Join the Gang on Edmodo!

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

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

3. Click on Join.

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

2013 Clinic/Convention Update Our convention is almost here! I hope you have preregistered and made your hotel reservations online (see page 3 for more detail). Be sure to use the online convention schedule at www.tmea.org/ convention to help you peruse the hundreds of events as you create your convention agenda! You can save, edit, and print the schedule to help you navigate these four incredible days in San Antonio! This is also the first step required to create your continuing professional education record that you can complete after you return from the convention.

Invited Ensembles and Choirs In addition to the clinic opportunities that abound for our division, we will enjoy and be inspired by several outstanding performing ensembles and choirs.

Learn more about our invited groups here and be sure to include their performances on your convention schedule.

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Southwestern Musician | January 2013 77

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Or, email miesales@yamaha.com today if you have questions about the iPad app’s compatibility with your current MIE classroom system. ©2013 Yamaha Corporation of America. All rights reserved. iPad is a trademark of Apple Inc., registered in the U.S. and other countries.

Valley Ridge Elementary School Fifth Grade Choir Michael Chandler, Director The 2012–2013 fifth grade class of Valley Ridge Elementary in Lewisville ISD is honored to be a TMEA Invited Ensemble. With approximately 540 students enrolled, Valley Ridge Elementary, a TEA Exemplary campus, opened in the fall of 1996. Charlotte Cauthen is the principal, and Bill Watson is LISD Director of Performing Arts. Michael Chandler is the classroom music specialist, now in his fourth year at Valley Ridge.

This year’s fifth grade class consists of 76 students in four sections, each of which has music class once a week for 45 minutes. The students explore diverse folk music from the U.S. and other countries and cultures as well as selections from the Orff-Schulwerk volumes of Music for Children. Together, they are actively engaged in singing, playing instruments, and movement and dance through a balanced curriculum that includes music reading, rote learning, listening, and improvisation. Half of the entire fifth grade class participates after school in the Valley Ridge Singers or Orff Schulwerk ensemble Jagspiel.

The Valley Ridge music program is represented by students in both the LISD Fifth Grade Honor Choir and the Children’s Chorus of Greater Dallas.

This is the first time for Valley Ridge Elementary to have an invited ensemble perform at TMEA. Mitchell Intermediate Chorale Cyndie Lowry, Director The Mitchell Intermediate Chorale, under the direction of Cyndie Lowry, consists of 75 boys and girls in the fifth and sixth grades. Students in the choir are members of their grade-level choir and

auditioned for a place in the Chorale in September. Members must commit to a schedule that involves rehearsing during their advisory time twice weekly and one weekly afterschool rehearsal. They must maintain a high level of attendance in their grade choir.

During the school year, the Mitchell Chorale performs three concerts. They are involved in the community by singing at a local nursing home and at Market Street during the month of December to carol for the shoppers. They raise money and have food drives for the Montgomery County Food Bank.

The Mitchell Chorale participates in a choral festival each May and has earned superior rankings and best-in-class each year. They have won best-in-festival five out of the seven years they have participated. The Mitchell Intermediate Chorale has had the honor of performing at the TMEA convention in 2005 and 2008 and is pleased to have the opportunity to perform again this year. *ULIÀQ (OHPHQWDU\ )LIWK *UDGH &KRLU Cynthia Brodt and Jason Ritchie, Directors Griffin Elementary is an Exemplary rated campus in the Katy ISD. Formed at the opening of the school in 2005, the Griffin Elementary Fifth Grade Choir is in their seventh year under the direction of cofounders Cynthia Brodt and Jason Ritchie. The Griffin Elementary Choir is an non-auditioned choir, open to all fifth grade students possessing the desire and commitment to sing.

Over the past seven years the choir has performed repertoire of a wide variety, including many different styles and languages. Past performance opportunities include at Katy and Houston area hospitals, malls, and retirement communities, as

well as in San Antonio and on the Kemah Boardwalk. The Griffin Elementary Choir is honored to be an Invited Choir for the 2013 TMEA convention.

Northwest ISD Fifth Grade Honor Choir Marie Nassiff, Vickie Adams, Debi Bullard, Roel Garza, and Kayla Gentry, Directors The Northwest ISD Honor Choir was developed out of a district-wide commitment to excellence in music education. NISD has been named one of the Best Communities for Music Education in America for the past four years. The 2012–2013 Honor Choir will be the first elementary group to represent NISD at the TMEA convention. It consists of approximately 90 fifth-grade students, representing the diversity of all 16 NISD elementary campuses. NISD is a rapidlygrowing school district, having doubled in size since 2005.

The Honor Choir rehearses weekly and provides additional musical opportunities for elementary students to excel and perform. The format of the group is continuously moving toward higher quality repertoire and more challenging performance standards. The choir is directed by five of the NISD elementary music specialists: Marie Nassiff, Prairie View Elementary; Vickie Adams, Granger Elementary; Debi Bullard, Hughes Elementary; Roel Garza, Beck Elementary; and Kayla Gentry, Roanoke Elementary.

NISD is honored to have their community, Board of Trustees, and administrators actively promote and encourage music education as a priority in every student’s education. The NISD Honor Choir is proud to showcase its talented students at this year’s TMEA convention.

Valley Ridge Elementary School Fifth Grade Choir Southwestern Musician | January 2013 79

Mitchell Intermediate Chorale

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Northwest ISD Fifth Grade Honor Choir 80 Southwestern Musician | January 2013

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Challenges, insights, and solutions B Y

K E I T H

D Y E

T

hanks go to all who attended the October 12 fall conference and to those who took the time to share the desire to attend but who were unable due to circumstances. I hope all who attended agree it was a worthwhile opportunity to not only be updated on many of the current issues we face as faculty preparing future music educators but also as a welcome chance to nurture new and old professional relationships.

Most importantly, resounding kudos go to the TMEA staff for making us feel so welcome and taking care of everything needed to ensure a successful environment. It is hard to imagine how any organizational staff could do a better job of facilitating a professional gathering—thanks go to them for their amazing efforts!

Below is an outline of the major presentations given, all centering around our theme of identifying challenges, sharing insights, and suggesting solutions.

Each of these sessions was framed by blocks of time allowing questions and discussion.

Challenges: An Administrative Perspective—William Ballenger, President, TAMS Challenges: TMEA Perspective—Robert Floyd, Executive Director, TMEA Insights: Trends in Assessment—Frank Coachman, Deputy Director, TMEA Insights: Today’s Students—Janice Killian, Editor, J.M.T.E. Challenges: An Administrative Perspective William Ballenger, from his perspective as TAMS President, began the day by providing multiple approaches to dealing with challenges. He reminded us that we are all keenly aware of challenges within our own communities and how we each “have a sense of how these challenges are affected by economic conditions,

COLLEGE NOTES IMPORTANT DATES January 14—Leadership Summit registration deadline.

January 19—CTME Leadership Summit at Dallas Baptist University.

January 23—Deadline to cancel a convention hotel reservation without penalty.

January 24—TMEA convention online preregistration deadline.

January 31—Deadline for nomination to run for an officer position on the CTME board.

February 13–16—TMEA Clinic/Convention in San Antonio.

With our ability to harness the inherent human desires of creativity and musical expression, music educators might serve a more meaningful role in the development of a healthy child than ever before.

Southwestern Musician | January 2013 83

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institutional priorities and values, and statewide and even national demands and expectations. However, more often than not, challenges are not known to us until they formally arrive on our doorstep.” As an example he detailed the most recent NASM standards related to health and safety of students in the workplace and how these could be met within the parameters of the new guidelines.

He then shared the thoughts of Dr. Sam Hope, Executive Director of NASM, in regard to challenges and how we deal with them. Specifically he believes we need to develop a habit of mind to think “compositionally” with regard to how we address challenges in each situation. Hope said: I am extremely confident that this approach is workable because so many of the characteristics needed to accomplish it are characteristics that are natural to musicians. We understand that technique is essential but not enough. We understand about compositional and design process.

We know how to sustain themes and work with invisible structures that over the course of a work produce an ever-gathering and powerful psychological effect. We know

how to take a basic theme and write endless variations that always reference back to the foundations but often do not reveal it clearly.

Ballenger suggested we begin by analyzing the core of the challenge, breaking it “down to its simplest components so that we can begin to understand all of the parts—our introduction.” We follow this by “working together to apply the thematic material that resonates directly from our introduction. The themes are developed as we apply our local understanding, our way of viewing the topic— there is no challenge if a situation unfolds before us and we agree with it in every way. Finally, we take the entire composition, or challenge, and we present the finished product to the appropriate audience for scrutiny.”

He acknowledged, “the list of challenges that face us every day is long and complicated. If we endeavor to work together, in our newly created universe of possibility, we can find a way to deal with even the most difficult and outrageous challenges that lie before us.” He concluded by remarking, “Very often the greatest challenge is in engaging the

appropriate people to participate in the creation of the composition, the challenge, so that we can identify the most creative and exciting possibility.”

The discussion that followed centered heavily on various institutional solutions to addressing the new NASM health and safety standards. There also was some sharing of how various schools had met the challenge of state mandates regarding academic program credit hour limits.

Perhaps of greatest benefit to all in attendance was the reassurance that all campuses face similar challenges and the realization that institutionally we often forget the commonalities we share.

Challenges: TMEA Perspective Robert Floyd followed this discussion with a summary of some of the most important challenges currently facing TMEA that pertain to the College Division. This presentation centered on three main areas: mentoring of recent graduates, advocacy, and legislative issues.

The new TMEA mentoring initiative’s success is highly dependent upon cooperation and participation from the colleges.

Floyd detailed the new structure of the

Southwestern Musician | January 2013 85

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

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program and asked that College Division members consider how we might best, as representatives of individual institutions, assist TMEA in identifying and providing contact information for recent graduates and soon-to-be graduates. It is also important for College Division members to assume the responsibility of making our students aware of the mentoring opportunities and the steps they can take to be included in the benefits.

On the topic of advocacy, Floyd shared the potential GoArts.org holds as an advocacy tool. We also, disappointingly, heard of the increasing issue of college faculty choosing not to join TMEA even though they are often participating in TMEA functions such as audition processes and playing a vital role in preparing future music teachers. TMEA membership costs have not increased in ten years and one would believe that our modeling of appropriate membership in professional organizations such as TMEA and advocacy programs like GoArts.org is an appropriate expectation.

For updates on the legislative horizon Floyd introduced Matt Matthews, TMEA legislative consultant in Austin.

I believe attendees would agree that his concise, honest, passionate, and enthusiastic remarks regarding the goals he pursues on behalf of TMEA members left us assured that we are in very good hands.

He spoke about the new commissioner and possible legislative agenda priorities, including the career pathways graduation plans. Given that much of what he shared was speculative and predated the general election, I encourage you to look for continued updates in this magazine and on GoArts.org from Executive Director Floyd. I am confident he will be quick to share developments with the entire membership as they begin to unfold.

2004 and multiple pilot programs using the latest incarnations of this tool continue to be conducted. A number of our College Division members, most notably Michele Henry at Baylor University, have worked closely with Coachman and software designers at MakeMusic to refine an interactive, Cloud-based instrument that will be at the heart of the assessment delivery instrument.

Following this presentation, the discussion centered on a number of key areas, including: $VVHVVPHQW GHFLVLRQV LQ RWKHU VWDWHV where a tool must be in place this academic year; 3RVLWLYH VWDWLVWLFDO UHOLDELOLW\ RI WKH pilot programs conducted to date in Texas; 3RWHQWLDO WLPHWDEOHV IRU LPSOHPHQtation of an individual assessment program of Texas music students; +RZ DVVHVVPHQW UHVXOWV RI WKH students of our former students might impact our teacher program evaluations; :KDW IDFLOLWDWLQJ WKH DVVHVVPHQW would look like on campuses; and :KLFK JUDGH OHYHOV RI RXU VWXGHQWV might be involved in the process.

There was consensus that each of us needs to be more aware of this topic and that it is our immediate obligation and responsibility to be diligent in passing on as much information as we can to our current students.

Coachman will post a version of his presentation on the TMEA website as a

resource for all TMEA members, as this can be an especially valuable tool for those of us charged with teacher preparation. It is clear that this issue holds potential to be highly influential on all facets of our profession, and it was reassuring to learn that TMEA leaders are at the forefront of key developments.

Insights: Today’s Students The final presentation was to be made by my colleague, Dr. Janice Killian.

Unfortunately, she was prohibited from making the trip to Austin due to recent surgery (from which she has recovered splendidly!). Killian provided me her presentation and gave me permission to modify it based on some prior work I had conducted. My adaption of her presentation focused on how the students we currently teach at the collegiate level often learn markedly differently than we do and how this trend shows no sign of subsiding. We looked at video showing children age 6 to 18 months manipulating digital touch devices with relative ease and great intent of purpose. In terms of teaching and learning, it is apparent that students are becoming more and more visual.

Research shows that unlike traditional learners who inherently track from upper left of images, digital learners track in a completely different way, tracking from the center of most images. We also examined the evidence of the human need to create, perform, and share that exists within Internet sites such as YouTube.

The presentation closed with the idea that perhaps music educators, with our ability to harness the inherent human desires of

Insights: Trends in Assessment Frank Coachman gave an enlightening presentation about the trends and developments in individual music student assessment. It was reassuring to hear that with his leadership and the work of a number of TMEA and TMAC members, Texas is at the forefront of devising an effective assessment tool that holds promise to be both accurate and informative in terms of quantifying both student musical mastery and teacher instructional success.

Work in this area has been ongoing since Southwestern Musician | January 2013 87

creativity and musical expression, might serve a more meaningful role in the development of a healthy child than ever before.

The conference concluded with my presenting the following questions for further thought and discussion. +RZ FDQ ZH EHVW FRQQHFW RXU VWXGHQWV WR the TMEA mentoring network? Do we as a division have a larger role to play? Is this an opportunity for CTME chapters to have additional purpose?

'RHV RXU FXUUHQW &ROOHJH 'LYLVLRQ FRPmittee structure work? ,V WKH FXUUHQW GHVLJQ DQG UROH RI RXU 5HJLRQ Division officers serving our needs? Could there be a better model of representation and responsibility for the College Division? $UH ZH DV FROOHJH PXVLF IDFXOW\ PHPEHUV fulfilling our professional responsibilities through membership and service?

It is hoped that the topics and issues addressed during the College Division Fall Conference will carry over to constructive discussion and action at our

SAM HOUSTON STATE UNIVERSITY

SCHOOL MUSIC

OF

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AUDITION DATES January 26, 2013 February 9, 2013 March 2, 2013

Apply Online at WWW.SHSU.EDU/MUSIC

88 Southwestern Musician | January 2013

next division meeting in February. My experiences at the Fall Conference clearly informed me we have not only a need but also a great desire for enhanced communication as a division and as individuals who are passionate and dedicated to the successful preparation of the future music educators of our state and nation.

CTME Notes Natalie Magaña, President-Elect The Collegiate Texas Music Educators Executive Board is currently planning our upcoming Leadership Summit.

Leadership Summit will provide student leaders the opportunity to come together in an exchange of ideas to further develop leadership potential, strengthen music education and establish networking contacts. It will be held at Dallas Baptist University on January 19. At this event we will include guest speakers and activities that allow interaction with these guest speakers and other students. We will focus on how student leaders can effectively envision, communicate and empower themselves, other students, and other student leaders.

The board is also beginning to plan our events at the TMEA Clinic/Convention in February. We will have our regular CTME business meeting where we will hold our officer elections. Our offices include President-Elect, Vice-President, Director of Public Relations and Communication, and Director of Internal Operations and Finance. You can find descriptions of each of the office’s responsibilities in our constitution located at www.ctmeweb.org. We encourage everyone to take part in this process. Email collegiatetexasmusiceducators@gmail.com with any questions.

This year at the convention we will also be hosting a CTME Chapter Officer and Advisor Meeting. At this meeting we ask that a minimum of one officer and one advisor from each chapter be present so we can discuss how to effectively communicate with each other throughout the year. We also welcome attendance from any students or faculty interested in starting CTME chapters on campuses where there currently are none.

Please visit us at www.ctmeweb.org, like us on Facebook (CTME Collegiate Texas Music Educators) and follow us on Twitter (@CTME1213) for updates of our events.

College Division Fall Conference October 12, 2012

challenges insights solutions

Southwestern Musician | January 2013 89

THANK YOU, SCHOLARSHIP DONORS October 26â&#x20AC;&#x201C;November 30, 2012 Amanda Abbott Bross Jarrad Wilson Abshire Dr. Robert Achterberg Mario Aguirre Ruth Aguirre Marianne Alberti Travis Almany Jennifer Michelle Amaya Erin Amendola David C. Anderson Deborah Anderson Jeffrey S. Anderson Jonathon N. Anderson Gary Anthony Heather R. Arboleda Quintin L Arnwine Richard Austin Andres Eduardo Aya Marina Azar Mozelle Charmaine Bailey-Sulak Eric M. Baker Travis Baldwin Dr. R. Craig Bales Janet Lynn Bardin Alice Barnebey Alan Barnett Christine Barnett Rodolfo B. Barrera David W Bartek Veronica Bazaldua Shawn Marie Bergen Richard Birk Rose Bitters Rheagan Blackwell Suzanne Bloodworth Stephanie Blue Emily G. Boedeker Darla Boyd William Brewer Ryan Brittain

Dr. Robert R Brooks Christopher Michael Brown Patti Jayne Brownfield Rev. Margaret N. Buchanan Briana Fawn Burns Trisha Burrell Catherine Leigh Burris Celeste Ann Canant John Michael Canfield Philip Castillo Robert Castillo, Jr. Oscar Phillip Castro, Jr. Angela R. Caviness Patrice Allyn Chappell Vanessa Perez Chavez Heather Clark Ruth J. Clark Christopher T. Clifton Lorelai Cole Marjorie Nell Cole Linda Connally Osley Cook, Jr. Dr. Samuel Cook Dr. John T. Cord Pamela R. Cramer Kevin W. Credeur Cathy A. Crittenden Richard Cruz Arturo Cuellar Bishop Cunningham, Jr. Susan G. Daniell Mark Joseph Davenport Florie J. Davis John Carl Day Roberto De La Garza Bill DeLavan Karl Dent John D. Derington Lisa Dierker Gary Kent Doerries, Jr.

Ron DonLevy Justin Douglas Dr. Jennifer Doyle Tara Dres James L. Drew Lisa J. Drew-Stiles Dr. Emma Yvette Dromgoole Toni Neely Dunn Dan Ebie Brittany Leigh Elliff Dr. Kim Sharon Ellis Aaron Ellison Byron Clark Engle Luz Beatriz Escudero Tawnya Bryan Espolt Carrie Maureen Evans Gary Lewis Faust Dr. Joanna Fernandes Joseph Firenza Conrad Douglas Flusche Gary Don Fort Pearlimae Denise Francis Joseph L. Frank, Jr. James C. Franklin Katherine French C. Ethan Fulbright Daniel Frederick Galloway Thomas E. Galvez Evan Garcia Joe H. Garcia II Kindra Garcia Michael Garcia Omar Adam Garcia, Jr. Michael D. Garrett Eric Garza Ramiro Garza, Jr. Kay Lynn Gibson Alex Jesse Gil Manuel Gonzales Tracy Elizabeth Gonzalez

Sydney Goodwin Taylor Goodwin Hollis William Gordon, Jr. Julia Gordon Jeffrey P. Gorring Benjamin Michael Grabber Robert Gray Larry Greer Kayse Lee Griffin JaRod Hall Rick Hammer Dr. Fred W. Hardin Gaynelle Hardwick Wesley Hardy Mark Harrell Shelley Harrington Marc Haygood Doug Hazlewood Thomas Heathcock Laura Heinrichs Dr. James Henderson Gabriel Hernandez Douglas E. Herrington Richard Hicks Becky Lynn Hills Lizardo Hinojosa Russell J. Houser Rev. John Thomas Howard, Jr. Valerie J. Howell Stacy Lewis Hudson Leslie Dean Huff Patrick Hughes Barbara Hughston Phyllis W. Hunt Libby B. Huntington Ami Irons Joe F. Irwin Albert Jackson Alvin Jackson Lynne Jackson Southwestern Musician | January 2013 91

Tido Janssen Teresa M. Jarzombek Donna Marie Johnson Kevin Wayne Jordan Melody K. Jordan Katrina Joyner Alicia Mindy Jumonville Colin M. Kading Nathaniel Rand Keefer Janice E. Keezel Michelle D. King Stephanie Kinnett David Kirkley Judy Kline Tom Knoflicek Dianne Machell Koch Sparky Koerner Franz Anton Krager Charles Krigbaum Kevin D. Kuehler Michelle Sevier Kyral Anita Sherryl Ladd Greg Lagerstam Alan Lambert John Paul Landin Michelle Landis Lance Laster Colleen LeBourgeois Erin Lilliefors Stephen John Lisko Joel H. Lopez Anthony W. Lucas Deborah Dawn Luna Krista Lundquist Sammie L. Lynn, Sr. Neal Mallard Dr. Hunter C. March Dr. Armin Tadeo Marmolejo Anne Marquis Josue Martinez Sonny Martinez Derek Vance Mathews Charlie Mayes Kim Kay McAusland Kyle McDonald David McGee Joyce Allen McGlaun

Dr. Carol McNabb Goodwin Cali McQueen Isaac A. Medina Robin Dawn Mikalunas Glen T. Miller Margaret Elizabeth Miller SuEllen Mooney Josue J. Mora David Moreno Eric Moon Mullins Stacy Ann Muniz Rosa Linda Musollari Ralph Nance Nevin P. Nichols Nick Nixon Raul Hadlai Ochoa Gerardo Andres Olivares Rosemary Cano Oliver Cormac Oâ&#x20AC;&#x2122;Reilly Kirk Allan Overmoe Lauren Long Padilla Lane Palmer Alex Pancheri DeShawn Darrell Parks George Alan Parks Deborah Payne Alejandra Pedraza De Martinez Daphne Pemberton Christine Phares Laura Poling E. Zane Polson James C. Powell Patricia S. Purcell Matthew Raines Christopher Rapacki Sharon Sue Ratliff Lynette Record Dianna Leigh Reed William Haley Reed Elizabeth Annette Reno Elizabeth Marie Reyna Dr. John Antonio Ricarte James D. Richardson Rev. James DeWayne Richardson Wanda Lee Richardson Nichelle Lee Rieber Ruben Rincon, Jr.

92 Southwestern Musician | January 2013

Ruben Rincon, Jr. Erick Rios Jesus Doroteo Rios Cory Slade Roberts Mark Robertson Gloria Rodriguez Barbara S. Rogers Jason L. Rogers Dr. Mark Rogers Gabriel Rosas Jennifer K. Rose Melanie Rosenberg Melissa Roth Darle Rountree Kristi Rushing Carol Elaine Rustowicz Marcia Sadberry Mary L. Samples Belia O. Sanchez Keith Sanders Maria F. Satterwhite Ellen Schaub Rita Scott Andrew Brian Sedlacek Melina Shaffer Abigail Shaw Derrick Dewayne Shears Dr. Thomas E. Shine Zachary M Shirley Kimberly Laurel Shuttlesworth Sabrina Silva Bryan M Simmons Andrea Sims Clinton J. Sims Hollan Patten Singletary Jon Skoruppa Sandra Marie Smith Ashley Snell Freddy Solis, Jr. Jack Paris Sperry II Mackie V. Spradley Emily Ann Standlee Leon Steward Jill Stewart Randy Storie Dr. Michael Sullivan Courtney Swaim

Laura Taylor Mary Lou Taylor Dr. Nathan R. Templeton Kevin Thomas Kent Tidwell Mary Tidwell Ben Torres Nhu Trinh Chris Stephen Turner Flenoyd Turner Jacquelyn Vaught Juan M. Vazquez Alfredo Velez III Zachary Venable Roxanne Vickers Rebecca Villarreal Rev. Christopher Andrew Vlasek Larry Don Wade, Jr. Thomas H. Waggoner Wesley Walker Richard Lowell Wall Robert C. Ward Erika Warren Dr. Kevin A. Wass Beth B. Watson Dr. John B Wayman Melanie E. Weeden Lisa Young Wheeler Danika White Donna E. White Nathan Andrew White Laura M Wiedenfeld Linda Wiese Jodie Wiggins Leah Williams Renita Hinton Williams Kristen Willis Sharissa Renae Wills Elizabeth Wilson Mack Wood Alessandra Lee Woods Steve Worley Chris Yancey

That old Black magic.

It happens when you slip into the comfortable woven strap of our famous Black Folder (above), forget about fussing with scores and focus on singing. We have choral folders in several configurations to suit your tastes and get you into the swing. And now a folder for conductors and instrumentalists, too (left). See them on CHORALEX™ Compact (above) is light, comfortable and available with several useful options. Extra-wide Band and Orchestra folder (lower photo) has metal corner protectors, name card and two pencil holders.

our website, check local availability, or ask yourmusic store to order for you.

Then let the magic begin.

www.musicfolder.com • Telephone and Fax: +1 604.733.3995 • Distributor enquiries welcome

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