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JANUARY2016 8 4









Executive Board Candidates . . . . . . . . . . . . . . . . . . . 12 Before you vote, learn about the candidates for TMEA President-Elect and Band and College Division Vice-Presidents.

Selecting the Right Literature . . . . . . . . . . . . . . . . . . 36 Literature selection is more than just choosing pieces that are appropriate for an upcoming performance. Learn more about what to consider as you evaluate what literature will help your students grow. BY FRED J. ALLEN AND COREY L. GRAVES

Music Education in the Law . . . . . . . . . . . . . . . . . . . . 48 Learn more about the laws and rules that affect music education so you can help your students succeed in their overall education and continued participation in your program. BY ROBERT FLOYD

Don’t Get Stranded: Successfully Teach the TEKS . . 64 Take a look at how you can expand on your current instruction and make teaching the requirements within the four TEKS strands even more meaningful for your students.

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


by Keith Dye

Executive Director’s Notes................. 20 by Robert Floyd

Band Notes ............................................................ 27 by Andy Sealy

Orchestra Notes ..............................................43 Vocal Notes ........................................................... 55 by Robert Horton

Elementary Notes .......................................... 71 by Juli Salzman

College Notes ..................................................... 80 by Michele Henry


by Penny Meitz Creating Your Convention CPE Record ................................................... 2 2016 TMEA Clinic/Convention: Register While the Price Is Right ........ 4 2016–2018 TMEA Region-Area Alignment ..........................................25 HS String Honor Orchestra Results ......................................................47 College Division Fall Conference Images .............................................79 2016 President’s Concert: Canadian Brass ........................................82

On the cover: Dean Barensprung performs with the Honey Grove HS Band during the 2015 TMEA Clinic/Convention. Photo by Karen Cross. Southwestern Musician | January 2016


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

Managing Editor: Karen Cross 512-452-0710, ext. 107 Fax: 512-451-9213

Creating Your Convention CPE Record

TMEA Executive Board President: Keith Dye 6607 Norwood Avenue, Lubbock, 79413 806-742-2270 x 231 – Texas Tech University

President-Elect: Dinah Menger 1305 Westcrest Drive, Arlington, 76013 817-891-1095 – Fort Worth ISD

Past-President: Janwin Overstreet-Goode MRYHUVWUHHWJRRGH#ÀVGNQHW 1406 Frontier Lane, Friendswood, 77546 281-482-3413 x 150/Fax: 281-996-2523 – Friendswood HS

Band Vice-President: Andy Sealy 4207 Plano Parkway, Carrollton, 75010 469-948-3011 – Hebron HS

Orchestra Vice-President: Penny Meitz 5407 Coral Gables Drive, Houston, 77069 281-468-2593 – St. John’s School

Vocal Vice-President: Robert Horton 3205 West Davis Street, Conroe, 77304-2039 936-709-1200 – The Woodlands HS

Elementary Vice-President: Juli Salzman 625 Milton Street, Angleton, 77515 (281) 660-4776 – Northside Elementary

College Vice-President: Michele Henry 1 Bear Place Unit 97408, Waco, 76798 254-644-0150 – Baylor University

TMEA Staff Executive Director: Robert Floyd |UĂ R\ Deputy Director: Frank Coachman | Administrative Director: Kay Vanlandingham | Advertising/Exhibits Manager: Tesa Harding | Membership Manager: Susan Daugherty | Communications Manager: Karen Cross | Financial Manager: Laura Kocian | Information Technologist: Andrew Denman | Administrative Assistant: Rita Ellinger |

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: 2IÀFH+RXUV Monday–Friday, 8:30 A.M.–4:30 P.M.

TMEA members attending our convention have numerous opportunities to receive Continuing Professional Education (CPE) hours. TMEA provides an online method for creating your CPE record after the convention. Follow these steps now so that you will be prepared to return from convention and complete your record.

1. Now: Create a personal schedule online. • Go to • Go to the Schedules page and click on Personal Schedule • Log in with your username and password

2. During the convention: Make note of workshops you attend to completion. Active membership, convention registration, and attendance is required for CPE credit to be granted.

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

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. 6XEVFULSWLRQUDWHV2QH<HDU²6LQJOHFRSLHV3HULRGLFDOSRVWDJHSDLGDW$XVWLQ7;DQGDGGLWLRQDOPDLOLQJRIĂ&#x20AC;FHV32670$67(56HQGDGGUHVVFKDQJHVWR6RXWKZHVWHUQ0XVLFLDQ32%R[ Austin, TX 78714-0465. Southwestern Musician was founded in 1915 by A.L. Harper. Renamed in 1934 and published by Dr. Clyde Jay Garrett. Published 1941â&#x20AC;&#x201C;47 by Dr. Stella Owsley. Incorporated in 1948 as National by Harlan-Bell Publishers, Inc. Published 1947â&#x20AC;&#x201C;54 by Dr. H. Grady Harlan. Purchased in 1954 by D.O. Wiley. Texas Music Educator was founded in 1936 by Richard J. Dunn and given to the Texas Music (GXFDWRUV$VVRFLDWLRQZKRVHRIĂ&#x20AC;FLDOSXEOLFDWLRQLWKDVEHHQVLQFH,QWKHWZRPDJD]LQHVZHUHPHUJHGXVLQJWKHQDPH6RXWKZHVWHUQ0XVLFLDQFRPELQHGZLWKWKH7H[DV0XVLF(GXFDWRUXQGHUWKH editorship of D.O. Wiley, who continued to serve as editor until his retirement in 1963. At that time ownership of both magazines was assumed by TMEA. In August 2004 the TMEA Executive Board changed the name of the publication to Southwestern Musician.


Southwestern Musician | January 2016

Degree Programs Bachelor of Arts in Music Bachelor of Music in Performance Bachelor of Music (teacher certiďŹ cation)

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

Audition Dates Saturday, February 20 Saturday, March 5 Saturday, April 2 Friday, April 22 (video audition deadline)

Contact Us 150499-0915 325-674-2199


Register While the Price Is Right! January 21 • Last day to preregister at the lower rate! Don’t miss this opportunity to pay less to attend the best music educators convention in the nation!


• Last day to preregister for the TI:ME Technology Preconference—a full day of learning technology solutions for classrooms, rehearsals, organization, notation & more!

ZZZWPHDRUJFRQYHQWLRQÁRRU &KHFNRXWWKHÁRRUSODQVRIWKHnewly expanded convention center. See where your division’s events will be held, the location of the three music showcases, new cafés, the giant exhibit hall, and much more!


Create an online schedule The convention schedule is available online at Create your personal schedule to help you organize your time and to EHJLQ WKH SURFHVV IRU FUHDWLQJ \RXU RIÀFLDO &3( record. The mobile Convention Guidebook will also be available for download from the convention website in February.

January 20: Final day to use the housing system to make a reservation in most hotels (some may continue to be available, but the listing will be limited). January 20: Final day to cancel a hotel reservation without being assessed a $50 penalty. There will be no waivers for this penalty. January 28: Final day to use the housing system to modify a reservation. After that, contact the hotel directly (wait several days, as there is a delay in the hotels receiving their reservation data).

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

Southwestern Musician | January 2016

University of North Texas

2016 AUDITIONS UNT Campus Auditions

Regional Auditions

(live jazz and percussion auditions offered on campus only)

(live jazz and percussion auditions offered on campus only)

Saturday, January 30, 2016 Friday, February 5, 2016

Chicago Friday, January 15, 2016

(Graduate percussion, piano, strings, and voice only)

Los Angeles Friday, January 15, 2016

Saturday, February 6, 2016 Saturday, February 27, 2016

New York City Friday, January 15, 2016



Undergraduate degrees in Performance, Music Education, Music Therapy and Composition, and a B.A. with a dual-degree option

Minors in Arts Entrepreneurship, Arts Management, Songwriting and Musical Theatre

Graduate degrees in Performance, Music Education, Conducting, Composition, Pedagogy (Piano, Music Theory), Music History and Sacred Music

Performer’s Diploma/Artist Diploma (post-Master’s) in Performance






Recognizing commonalities while appreciating differences


January 9—Band and Vocal Area auditions. January 11–12—All-State housing entry. January 20—Deadline to cancel a convention hotel reservation without penalty. January 21—Early registration deadline (fees increase after this date). January 21—TI:ME Technology February 10 Preconference preregistration deadline. February 10–13—TMEA Clinic/Convention in San Antonio.

ased on the title, this column may not be exactly what you anticipate. It’s not intended to be so much about variances between individual Texas music educators, but more regarding differences between educators on a national level. As I write this, I have just finished giving two presentations attempting to provide a general overview of music education in the state of Texas. As a guest of Dr. James Frankel, I offered these to graduate music education students at Columbia University Teachers College (my doctoral alma mater). Of the approximately 40 students in attendance, none were from Texas and only eight had ever been here. Most in the audience were educators either currently or formerly engaged in teaching music in the northeast coastal areas of the country, many teaching in New York City schools. Their areas of music education expertise varied. Almost equal numbers of them teach primarily choral, band, string, elementary, or piano. As they shared what their responsibilities are, the diversities within their professional positions exposed even greater differences. Some examples: Carolyn, a 25-year old master’s student, teaches in Elizabethtown, New York, a small rural community. She is solely responsible for K–6 music and high school marching band. She sees her elementary students once a week for 35 minutes and her high school marching band three days a week. Marc is a middle school teacher teaching in a neighboring community of New York City proper. He teaches one period of band, one period of orchestra, and four periods

As you begin this new year, consider setting in motion models of thought and action that could reverse the habits we all unavoidably fall into over time. Southwestern Musician | January 2016



Auditions are required of all entering and transferring music majors. F R I D AY





January 15, 2016

January 16, 2016

January 30, 2016

February 26, 2016

February 27, 2016

( V O I C E O N LY )

( V O I C E O N LY )

B AY L O R S C H O O L O F M U S I C B AY L O R P R E S E N TAT I O N S / P E R F O R M A N C E S AT T M E A 2 0 1 6 Thursday, February 11

Friday, February 12

Saturday, February 13

MICHAEL ALEXANDER AND RUSSELL GAVIN 3:45-5:15 pm, CC Park View Research Poster Session

MICHAEL JACOBSON 2:30-3:30 pm, Stars at Night Ballroom 4 Top 10 Ways to Improve Your Saxophone Section

JEFFREY POWERS 8:00-9:00 am, Stars at Night Ballroom 4 Vive la difference: The Uniqueness of the Horn

JEFFREY POWERS/BAYLOR HORN ENSEMBLE CONCERT 3:30-4:00 pm, CC West Registration Music Showcase Performance

RANDALL BRADLEY 11:00 am-12:00 pm, Grand Hyatt Lone Star DEF Developing Community in the Choral Rehearsal

ERIC WILSON/BAYLOR WIND ENSEMBLE CONCERT 4:00-4:50 pm, Lila Cockrell Theater MICHELE HENRY 5:15-6:00 pm, CC301 College Division Business Meeting

ALEX PARKER 6:30-7:30 pm, Stars at Night Ballroom 1-2 Coaching Your Big Band Rhythm Section Is Easier Than You Think FLORENCE SCATTERGOOD 6:30-7:30 pm, Grand Hyatt Lone Star ABC Let’s Start at the Very Beginning


Friday, February 12, 9:00 pm Rio Grande Room of the Hyatt-Regency

T M E A O F F I C E R F R O M B AY L O R MICHELE HENRY College Division Vice-President, TMEA Executive Board

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of technology-based general music each day. Marge, a K–8 music teacher on Long Island, teaches only keyboard-based classes all day. And Jenny, a high school choral director in Harlem, has become well-known in the area for her incorporation of rap in opening up the world of opera to her students. As I continued to survey the students, I learned that none had ever known their campus staff to include more than three music educators, and that was only in a very large high school or respected private school setting offering band, choir, and orchestra. So what did I decide this audience of assorted music educators meeting over 1,500 miles away from the closest point in Texas wanted to learn about music education in Texas? The students’ interests appeared divided into two distinct categories. The first group was somewhat aware of our performing groups’ reputation for excellence and the second collection seemed a bit apathetic as to what some old guy from halfway around the country could say to impact their view on their profession or career. I quickly decided it was in my best interest to focus on engaging the first group in the hopes that the somewhat disinterested might be drawn into the queries of their peers. At this point I should probably ask you whether you have ever tried describing how and why music programs in Texas are set up so differently than similar undertakings in other areas of the country? Have you ever really tried to give a detailed depiction of the daily activities of many of Texas choral, orchestra, and band programs? It isn’t easy without absolutely overwhelming the listener, even when that audience is a savvy group of music educators. The following are some of the aspects I described that absolutely fell outside their fields of understanding: Multiple directors in the same music disci-

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pline area on the same campus. This more than anything else I discussed probably received the biggest reaction. The concept of working alongside someone else who is responsible for essentially the same duties was not easily grasped. Everyone in the two audiences saw the role of a music educator as a solo act, one person being the expert in a single area, if not two or more. Secondary music classes meeting as regularly scheduled offerings on a daily basis for the most part just like any other academic class. While some in attendance had experienced this advantage, many had not, and all were

aware that lack of this routine can be a common predicament in middle and high schools in their geographic area. Homogeneous instrumental classes. I know that not all Texas instrumental programs have this advantage, but many do. After describing this possibility in addition to the luxury of having classes meet every day, quite often with an expert on that individual instrument, I instantly saw looks of disbelief, even in the seemingly somewhat disinterested. Implied requirement of participation in statewide concert and sightreading evaluations.

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While statewide organization-sponsored evaluations exist elsewhere, the idea that non-participation is almost unheard of is definitely not the norm across the country, particularly in the minds of my audience in New York. So, exactly what is the focus of this column? I hope a quick reference to its title, “Recognizing Commonalities While Appreciating Differences,” can help refocus my intent. Here I had two full classes of music educators dedicated enough to be pursuing advanced degrees in their discipline in one of the costliest settings

10 Southwestern Musician | January 2016

in the country. They were outwardly just as passionate about the musical activities they were engaging their students in as any of their Texas counterparts. In this same vein, they appeared to be just as professional, intelligent, thoughtful, capable, and educationally accountable as any Texas music educator. Obviously, from a music educator perspective, our commonalities are actually greater than our differences. However, dare I say that our dissimilarities make all the difference? While most of us in Texas perhaps do not enjoy every advantage described

above, as a collective we do! What benefit is this? Consider that we have a chance to effect change in our situation if we are dissatisfied. There are numerous examples of other schools across Texas that resemble yours but that may possess superior program attributes. We can readily find instructional models and experienced peers to hold up as exemplars. Can you imagine advocating for the kind of circumstances I listed above with virtually no examples within Texas that demonstrate the attributes you desire to obtain? We are once more beginning the second half of an academic year. While it isn’t a complete do over, the resumption of instruction and learning after a break does have a freshness to it that we do not experience after the typical weekend respite. While it’s an opportunity to reset standards and expectations, it is also a chance to reevaluate each class and student. Have we fallen into assumptions regarding their motives for negative behaviors? Have we begun to settle for less than we know we should strive for in many aspects of our student engagement? Is the root of this acceptance somehow connected to an unintentional and gradual lowering of our self-expectations? All of these conditions of human behavior, whether teacher or student, intentional or not, are commonalities. Why is that important? I would hope we can find empathy with our peers and mentors. What a great occasion to reach out and begin breaking patterns of isolation and self-doubt. As you begin this new year, consider setting in motion models of thought and action that could reverse the habits we all unavoidably fall into over time. Consider beginning this process prior to our convention. Arrive at the convention with the intent for this event to be a culminating experience of change and new directions. Don’t attend just to be refreshed and refocused but rather to engage your whole professional self in fully developing your potential. The TMEA convention could actually be a springboard of professional development and socialization that not only reinforces your regenerated thoughts and behaviors for the remainder of this year but also propels you in your preparation for the next. Selfishly commit to make this the best TMEA convention you have ever experienced! 

Executive Board Candidates President-Elect nominations close during the First General Session, Thursday, February 11, 8:30 A.M., in Lila Cockrell Theater. If there is only one candidate for this office, the vote will occur during the First General Session. If there are multiple candidates, the election will be by electronic ballot on February 11. Go to to learn about the procedure. Divisional Vice-Presidents will be elected at their Division’s Business Meeting, Thursday, February 11, at 5:15 P.M.: Band (Stars at Night Ballroom 4); College (CC 301).

Candidate for President-Elect: Andy Sealy Andy Sealy

Present Position: Director of Bands, Hebron HS (2003–present). Previous Position: Director of Bands, Randall HS, Amarillo (1998– 2003); Director of Bands, Monterey HS, Lubbock (1995–1998); Middle school band director and high school assistant director, Monahans ISD (1988–1995); Middle school band director and high school assistant director, Iraan-Sheffield ISD (1987–1988). Education: Texas Tech Univ (1987). TMEA Offices and Positions Held: TMEA State Band Chair (present); TMEA Region 24 Band Chair (2011–2013); TMEA Region 1 President (2000–2003); TMEA Region 16 Jazz Chair (1996–1998); Stage Manager for TMEA Clinic/Convention (2008–2010); TMEA All-State Band Organizer (2003 and 2005), TMEA Area Honor Band Chair (2010–2012). Professional Affiliations: TMEA, TBA, TMAA, Phi Beta Mu, ABA, ICS, Phi Mu Alpha Sinfonia. Honors/Accomplishments: TMEA 5A Honor Band-Wind Symphony (2010–2011); UIL State Marching Contest (2003, 2006, 2008, 2010, 2012-Silver Medalist, 2014-Silver Medalist); Midwest Clinic-Large Chamber Choirs (2014), Wind Symphony (2010), Clarinet Choir (2009); Sudler Flag of Honor-Wind Symphony (2012); Sudler Shield-Marching Band (2010), National Wind Band-Mark of Excellence, Wind Symphony (2008–2012, 2015); Texas Administrator’s School Alliance Midwinter Conference on Education-Wind Symphony (2012); Consistent UIL Sweepstakes awards (2003–2015); Bands of America Regional and Super Regional Finalist; UIL MAC (2008–2011); Who’s Who Among America’s Teachers, Presser Fellow; Clinician at TMEA, TBA, Midwest Clinic; Active Adjudicator, Conductor, and Clinician. Personal Information: Happily married to Karen for 20 years. Karen is the Director of Secondary Curriculum for the Lewisville ISD. We reside in Frisco along with our two rescue dogs, Abby and Rosco. Statement: I am honored and humbled to be nominated for the office of TMEA President-Elect. Thanks to those who offered their generous assistance and encouragement at the Region level and beyond. I have served TMEA in some capacity for many years. I have grown exponentially personally and professionally as a result of these opportunities for service and leadership. Most recently 12 Southwestern Musician | January 2016

I have been privileged to serve as the TMEA Band Division Vice-President. The opportunities afforded me as TMEA Band Division Vice-President have allowed me to witness firsthand some of the unique challenges facing our organization now and in the future. I will work in a collegial spirit with the members of the Executive Board as we continue to address the role and relevance of fine arts education in the larger context of legislative, cultural, and alignment pressures. We must be vigilant in our recognition of and advocacy for a fine arts education for all students in our schools. I will be an eager and responsive listener to broad divisional concerns. I will seek to enlist outstanding music educators and diverse role models for our students for our annual convention. And, I’ll continue to strengthen, refine, and innovate our internal processes and procedures. My hope is to not only be a strong advocate for music education in general, but more importantly a good steward of the organization and its membership. I am proud of TMEA and grateful for the organization’s tremendous support of the classroom music teacher. I look forward to the opportunity to give something back to our students, parents, and fellow educators. I hope I can earn your support and trust. Thank you for your consideration as you cast your vote for TMEA President-Elect.

Band Vice-President Candidates John Carroll & Joe Muñoz John Carroll

Present Position: Associate Director of Bands, Permian HS (1995–present); Adjunct teacher at Odessa College. Previous Positions: Middle school band director and high school assistant director, Dalhart (1986–1995): Middle school band director and high school assistant director, La Feria (1983–1986); Middle school band director and high school assistant director, Quanah (1981–1983); Middle school band director and high school assistant director, Stephenville (1979–1981); Middle school band director and high school assistant director, Dumas (1977–1979). Education: Master of arts, West Texas A&M Univ (1991). Bachelor of music education, Abilene Christian Univ (1977). TMEA Offices and Positions Held: Region 6 Band Chair (2012–present); Region 6 President (2002–2004); Clinic/ Convention Stage Manager (2007); All-State Band Organizer (2003–2006); All-State Band/Orchestra Audition Judge


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(1996–present); Percussion Audition Panel Chair (several years); All-State Percussion Organizer (15 years); Convention clinic presider (2014, 2015). Other Offices and Positions Held: Region 6 Hall of Fame Band Directors Committee Chair, (2014–2015); Membership in several Phi Beta Mu committees; Full-time WTAMU Band Camp faculty member since 1989. Professional Affiliations: TMEA, TBA, Phi Beta Mu, TMAA . Honors/Accomplishments: Consistent UIL Sweepstakes awards; Percussion ensemble performance at the Music For All National Percussion Festival (2011); Teacher of multiple AllState students (1993–2015); Several jazz band awards; Multiple drum line contest championships and caption awards; National Winner—National Percussion Ensemble Mark of Excellence (2011); member of the UIL Music Advisory Committee; Who’s Who Among American Teachers; clinician at TBA; West Texas Auxiliary Championships; Recipient of the Marcia Zoffuto Hero Award (2015—awarded annually to one outstanding secondary fine arts director in Region 6). Personal: I consider myself a very happy person who enjoys his family, his friends, and his job. I share my trials and joys with someone who just happens to share my last name (Beth Carrell, though spelled one letter differently). I consider myself fortunate to have been raised in a godly home with two most loving parents, and two wonderful siblings. Besides my job, I enjoy movies, reading, dining out, and traveling to new places. I would not trade my career as a Texas band director for any other job in the world. Statement: I am so honored to have been nominated for the

position of TMEA State Band Vice-President. I thank those who have nominated me on the Region level and who have encouraged me in this process. I have served my profession and TMEA for many years. There is no doubt in my mind that the Band Division of TMEA, along with UIL, has created a culture for Texas to have the high level of bands that it presently has. I know that I am indebted to all the previous TMEA Band Vice-Presidents and to countless others for paving the way for where we are today. I have spent approximately half my career in smaller schools (3A, 4A, and 5A), and half of my career in a 6A school. I am quite cognizant of the different aspects of different sized schools, and am convinced that Texas band students from all schools, regardless of size, are deserving of the best experience in band that they can possibly obtain. Additionally, I have taught beginner students on every wind and percussion instrument, and I definitely appreciate the concept of teaching in the grassroots of our honorable profession. If elected, I will eagerly accept the role of State Band VicePresident with the knowledge that it takes an inordinate amount of work and organizational abilities. I will always have an open ear to my colleagues with their TMEA concerns. I will continue the tradition of seeking awe-inspiring educators for our annual convention to better us as teachers and to give our All-State students a life-changing experience. I will work to continue strengthening our inner workings of TMEA, especially as we approach a new Region alignment. I offer all this to you, and I offer the fact that I truly love being able to call myself a Texas band director. I am eager to give back to the profession and the association that have

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Southwestern Musician | January 2016 15

given me so much since I started teaching. I hope I can earn your support. Thank you for your consideration of me in the upcoming State Band Vice-President election.

Joe Muñoz

Present Position: Director of Bands– Pearland HS (2013–Present). Previous Positions: Director of Bands, Clear Lake HS (2003–2013); Director of Bands, Oak Ridge HS (1999– 2003); Assistant Director of Bands, The Woodlands HS (1993–1999). Education: Bachelor of Music, Univ of Houston (1993). TMEA Offices and Positions Held: Region 17 Band Chair (2005–Present); Region 19 Band Chair (2003–2005); Area F Wind and Percussion Audition Chair (2009–present), Area F Honor Band Chair (2009, 2011). Other Offices and Positions Held: TMEA Resolutions Committee member, TMEA Clinic Presider, TMEA Agenda Committee. Professional Affiliations: TMEA, TBA, Phi Beta Mu International Bandmaster Fraternity, Kappa Kappa Psi Honorary Band Fraternity, Phi Mu Alpha Sinfonia, Honorary Member Tau Beta Sigma Honorary Band Service Sorority. Honors/Accomplishments: 2014 National Wind Band Honors National Winner (Pearland HS Wind Ensemble); 2014 UIL State Marching Band Contest; 2012 TMEA 5A Honor Band Finalist; 2012 TMEA Honor Full Orchestra (Clear Lake Orchestra); 2010 TMEA 5A Honor Band state qualifier; 2009 Midwest Clinic performing ensemble (Clear Lake Wind Ensemble); 2008 TMEA Honor Band state qualifier; 2003 TMEA 4A Honor Band state qualifier; 2003 BOA National Concert Band Festival invited performer; 2003 National Band Association Citation of Excellence; 2001 TMEA 4A Honor Band State Qualifier; Who’s Who Among America’s Teachers; Active adjudicator and clinician. Personal: Happily married to D’Juana for 23 years. Together we have three children: Alexandra (22), Jared (19) and Lindsey (16). All of our children have been or are active in the public school band programs. Statement: I am honored and humbled to be nominated for the office of TMEA Band Division Vice-President. Through the offices and service I have provided for our association, I have seen the positive impacts that each of you have every day with your students. This service has allowed me to see how challenging creating those experiences can be. I would work on your behalf and that of your students and their parents while working with the TMEA Executive Board to keep our association leading the charge for music education and fine arts education in Texas schools. I will seek input from local membership and Region leadership on any divisional or association concerns. I will continue the work of finding outstanding presenters and role models for our annual convention. With my 12 years of experience as a Region Chair, I will continue the work of adjusting our procedures and guidelines as needed. TMEA has helped me become a better teacher and professional, and I look forward to the opportunity to pay it forward to 16 Southwestern Musician | January 2016

the future students, parents, and teachers who interact with our association. Thank you for your consideration as you vote for the next TMEA Band Division Vice-President.

College Vice-President Candidate Si Millican Si Millican

Present Position: Associate Professor of Music Education–UT/San Antonio (2007–present). Previous Positions: High school band director, Belton ISD (1997–2004); Middle school band director, Lewisville ISD (1991–1996); Middle school band director, Arlington ISD (1991). Education: Bachelor of Music, Univ of North Texas (1990); Master of Music Education, Univ of North Texas (1995); Doctor of Philosophy, Univ of Oklahoma (2007). TMEA Offices and Positions Held: Region 11 College Division Chair (2007–present); Mentor Network Area Band Coordinator (2012–present); Convention Registration Volunteer (2007–present); SOUTHWESTERN MUSICIAN article review committee (2012–present); Region 8 Band Chair (2001–2004). Other Offices and Positions Held: Music Education Area Coordinator, UTSA (2013–present); State Music Textbook Review Panel (2014); Music Educators Resource Network Mentor Program Steering Committee (2008–2012); Region 8 TBA Representative (2001–2004). Professional Affiliations: TMEA, TBA, TMAA, Society for Music Teacher Education, Phi Mu Alpha–Sinfonia, Kappa Kappa Psi (honorary). Honors/Accomplishments: Author of the textbook Starting Out Right: Beginning Band Pedagogy published by Scarecrow Press and coauthor of “Curriculum and Assessment in Preservice Music Teacher Education” in Musicianship-Focused Curriculum and Assessment published by GIA Publications; published in Journal of Music Teacher Education, Update: Applications of Research in Music Education, The Instrumentalist, School Band and Orchestra, Bandmasters Review, String Research Journal, Music Teachers National Association e-Journal, and American Music Teacher. Presented sessions at: the TMEA convention (2009, 2011, 2014); Symposium on Music Teacher Education (2013, 2015); National Association for Music Education (2006, 2008); College Music Society (2010); Missouri MEA (2013); Desert Skies Symposium on Research in Music Education (2011). Personal: My wife Sherry has taught at the elementary, high school, and collegiate levels and is a choir director in Northside (San Antonio) ISD. I’ve spent most of my life in Texas schools and began my TMEA service as a high-school student assisting my band director while he served as Band Division Vice-President. Statement: I am honored that my colleagues have encouraged me to run for the office of Vice-President and College Division Chair. I believe that my thirteen years of public-school teaching experience would make me a valuable team member serving our state board, and my twelve years of university teaching will help

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me serve the needs of student and faculty members in the College Division. The College Division has the unique opportunity to help students as they transition from high school to college and then on to their careers as music teachers. The College Division can continue to strengthen connections between college faculty and the growing number of Texas Future Music Educators chapters. Additionally, we can continue to assist our college graduates through the reinvigorated TMEA Mentor Network. The college student membership of TMEA continues to grow in number. Their professional and social role development as they transition from being music students to music teachers is vitally important to the continuation of our profession. TMEA can take on a more active role in helping college students with these transitions by connecting with them through traditional channels like the annual clinic/convention as well as through social media and distance-learning platforms. TMEA can continue to build on the work that has been done in the past to encourage graduate students and faculty participating in research into music teaching and learning. We can promote important activities like our research poster session, clinics on improved teaching practices informed by research, and our own journal Texas Music Education Research through a variety of social media, electronic communication channels, financial incentives, or even research awards. Developing and cultivating a stronger connection between TMEA and college faculty has been a continual challenge for our division. I will work with my colleagues to brainstorm ways in

which we can promote the work of college faculty that benefit every division of TMEA at all levels of teaching. Some ideas may include research grants, expanded journal visibility of Texas Music Education Research, and additions to our established College Division committees. TMEA is blessed with an incredible history of dedicated leaders who have given their time and talents to benefit music students and teachers across the state. I am honored and humbled to be asked to offer my service in continuation of their work. 

Division Business Meetings Thursday February 11 â&#x20AC;˘ 5:15 PM


18 Southwestern Musician | January 2016

Band: Orchestra: Vocal: Elementary: College:

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New alignment a reality


n the August issue of SOUTHWESTERN MUSICIAN President Dye wrote of the reactions to the realignment project (assignment of school districts to TMEA Regions and those Regions to Areas, effective with the 2016 school year). He approached it from both sides of the spectrum—from diametrically opposed entrenchment against change to the notion of finding commonality and compromise in a new proposal and plan that will better serve our programs, members, and students. He went on to state, however, that as we reach the culmination of the process, the realignment exercise very well could prove to be the healthiest endeavor our organization has experienced in some time. Supporting this projection is the fact that the 170 members, many speaking for their Regions, shared constructive input after the plan was distributed in midsummer. As a result, I can assure you that every suggestion or comment was carefully vetted and considered. Thanks to the efforts of Deputy Director Frank Coachman and the cooperation of Region officers in submitting reports in a timely manner, the depth and accuracy of the audition participation data allowed the Board to scrutinize each suggestion with utmost care and sensitivity. No request was dismissed as being unworthy of review. As a result, numerous changes were made to the Region maps in September to strengthen the new alignment plan and, to the extent possible, to improve

The Executive Board is committed to systematically reexamining Region and Area alignment on a continual, two-year cycle. 20 Southwestern Musician | January 2016

January 9—Band and Vocal Area auditions. January 11–12—All-State housing entry. January 20—Deadline to cancel a convention hotel reservation without penalty. January 21—Early registration deadline (fees increase after this date). January 21—TI:ME Technology February 10 Preconference preregistration deadline. February 10–13—TMEA Clinic/Convention in San Antonio. February 12—TMEA Current and Future Region Meetings.

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equity and fairness from a global perspective as well as to address school classification disparities within Regions. Similar care was applied when the Board determined the Area alignment for TMEA (see page 25). Certainly ATSSB officers as well as UIL Director of Music Brad Kent strived to create Area boundaries that fairly addressed the specific needs of their organizations to create equitable opportunities for advancement in their respective competitions. When the alignment process was begun, the Board put in place six decisionmaking parameters to guide the process. Those were shared with the membership at last yearâ&#x20AC;&#x2122;s convention as well as in the April issue of SOUTHWESTERN MUSICIAN. These parameters were geographic con-

cerns, equality of student opportunity, statewide representation, consideration of impact on all three performance divisions, impact on each school-size classification, and allowance for growth with more fluid, ongoing amendment. To accomplish as much equity as possible, the Board chose to utilize apportionment to determine the numerous chair selections within each Area based on participation in the process. Throughout the realignment exercise more questions were raised about apportionment than on any other facet of the process, and rightfully so. But until Regions were defined, Areas were determined, and new campus classifications assigned, it was impossible to develop the details of such a plan. The apportionment plan is nearing completion, however, and will be posted on the



TMEA website shortly after the January 9 Wind, Percussion, and Vocal Area auditions and January Executive Board meeting on that same weekend. So what is next? Current as well as future Region meetings will be held during the convention. I encourage you to attend both. Interim officers will be elected at the new Region meetings. Shortly after the convention, this office will assist in the distribution of Region resources and provide seed money as needed for the new Regions. Many Region officers are already exploring options for how both funds and equipment might be distributed or divided. Finally, the Executive Board is committed to systematically reexamining Region and Area alignment on a continual, two-year cycle. Such decisions,



Featuring guest artists:

And Tarleton faculty: A


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8 a.m.


9 a.m.

Warmup Classes with Tarleton Faculty

10 a.m.

Morning Brass Ensemble Performances

11 a.m.

Masterclasses with Guest Artists

2 p.m.

Tarleton and Guest Faculty Showcases

REX RICHARDSON Trumpet Virginia Commonwealth University

J. D. SHAW Horn University of Southern Carolina


WILLIAM HAUGEBERG Trombone Register before Jan. 1 for the Early Bird rate of $20 for an All-Day Pass. (After Jan. 1, All-Day Passes are $25) Separate tickets to the evening concert at 5 p.m. can be purchased at the door for $15. (All-Day Pass includes a ticket to the evening concert)

22 Southwestern Musician | January 2016

3:30 p.m. Q&A Session with Tarleton Faculty and Guest Artists 5 p.m.

Evening Concert with Guest Artists

Demand a Higher Standard Introducing the NEW CSVR The Yamaha YCL-CSVR clarinet is the result of years of development dedicated to a clearly focused concept: crafting a Custom clarinet that has a beautiful sound, consistent quality, and an affordable price. Both student and professional clarinetists require a rich sound and comfortable playability. These qualities were combined with the high level of consistency that only Yamaha can provide, allowing clarinetists to demand a higher standard than ever before. • Redesigned keys offer comfortable, ergonomic hand placement. In addition, the new keys have thicker silver-plating for a dark and resonant sound quality. • Durable leather pads ensure a precise seal between pad and tone hole for ease of response throughout the entire range of the clarinet. • A new Custom barrel design provides the CSVR with a well-balanced response and rich, warm tonal colors that will elevate the progressing clarinetist’s playing. Learn more now at

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Wayland is among the most affordable universities in the nation. According to a recent survey, our students chose Wayland for “affordability, Christian atmosphere and scholarship availability.”

TMEA 2016â&#x20AC;&#x201C;2018 Regionâ&#x20AC;&#x201C;Area Alignment Assignment of districts to TMEA Regions for the 2016â&#x20AC;&#x201C;2018 school years is set. Region assignments to Areas are also set. Note: TMEA, ATSSB, and UIL Region-Area alignment is not the same. Be sure to carefully review the alignment details at to determine your Region-Area alignment for activities sponsored by each of these organizations. )URPWKLVSDJH\RXFDQORRNXSDGLVWULFWWRĂ&#x20AC;QGLWV5HJLRQ$UHDDVVLJQPHQWIRU TMEA, ATSSB, and UIL activities.


Go to for a listing of the ATSSB Region-Area alignment and UIL marching RegionArea alignment.

as in the development of this alignment plan, will be with the continued cooperation and dialogue with UIL and ATSSB. The staff and Executive Board extend our thanks to the membership for your valued input as well as confidence exhibited in the leadership to allow this new alignment to serve our programs and our students in the most effective way possible. Constitutional Revision The Executive Board will be recommending minor updates to the TMEA Constitution that will be voted on at the First General Session of the upcoming convention. The required change supports the increase from 28 to 33 Regions, as well as a revision in institutional membership benefits, suggested divisional program agendas, and minor language cleanup. The changes will be posted on the TMEA website ten days prior to the convention, and you will be notified in an emailed TMEA News update.

Attend Your Current and Future Region Meetings

On Friday, February 12, attend the meetings of your current Region (5:15 P.M.) and future Region (5:45 P.M $IWHU\RXĂ&#x20AC;QG\RXU5HJLRQDVVLJQPHQW DW ZZZWPHDRUJDOLJQ Ă&#x20AC;QG \RXU PHHWLQJ ORFDWLRQV LQ WKH FRQYHQWLRQ RQOLQH schedule and printed program.

in TMEAâ&#x20AC;&#x2122;s operations, with only minor suggestions for operational procedures improvement. TMEA Convention Housing Reminders Housing for attendees has been particularly challenging despite the fact that TMEA has contracted with 27 hotels for almost 5,000 rooms on the peak night. If you are still without housing, I suggest you continue to watch the website for room availability. Per our policy, any rooms canceled are returned directly to the res-

ervations system. You must cancel your reservation online with the San Antonio Housing Bureau prior to January 20 to avoid a penalty. After January 28 all cancellations must be directed to your assigned hotel at least 72 hours prior to arrival. Otherwise one nightâ&#x20AC;&#x2122;s room and tax charge will be assessed by the hotel. Changes may be made through January 28 at through the San Antonio Housing Bureau. After that date, changes must be directed to your confirmed hotel. 

2014â&#x20AC;&#x201C;2015 Audit Our constitution requires that the executive director provide for and order an annual audit of TMEA accounts by a duly qualified accountant. The 2015 audit of the association by Allman & Associates, Inc. is now available online at Our audit each year is extensive and thorough, lasting up to two weeks, and I am pleased to report that there were no deficiencies or irregularities Southwestern Musician | January 2016 25


BAND concert band camp june 12 - 16, 2016

drum major camp june 19 - 23, 2016

marching leadership camp june 19 - 23, 2016

color guard camp june 19 - 23, 2016

STRINGS texas chamber music institute june 26 - july 1, 2016

summer strings camp july 10 - 15, 2016

texas conducting workshop july 5-9, 2016

JAZZ uta summer jazz combo workshop july 17 - 22, 2016

VOCAL All-State Choir Camp july 27 - 30, 2016

one last look september 10, 2016





In Memoriam FRED BAETGE November 27, 1935–November 1, 2015

Be Resolved


January 9—Band and Vocal Area auditions. January 11–12—All-State housing entry. January 20—Deadline to cancel a convention hotel reservation without penalty. January 21—Early registration deadline (fees increase after this date). January 21—TI:ME Technology February 10 Preconference preregistration deadline. February 10–13—TMEA Clinic/Convention in San Antonio. February 11, 5:15 p.m.—Band Division Business Meeting at the convention. March 1—Honor Band entry deadline for classes 1C, 1A/2A, 4A, 6A.

am not ordinarily a big promoter of New Year’s resolutions, but what if we as music educators simply resolved to become better teachers? We all need actionable resolutions that focus on student achievement. However, genuine growth comes from committing to personal resolutions that cannot be easily measured. The first aspect of my resolution to become a better teacher is that I need to see my students as individual musicians first. I have to recognize that each student has something to contribute to the music-making process. Students also need to feel intellectually and musically challenged in my classroom. The music I program and the assignments I offer must be relevant and demanding. It is my responsibility to create a band hall context that can fuel a student’s passion for learning music. Secondly, I must constantly find ways to acknowledge and reward student effort. I have to instill the message in my students that their musical development and satisfaction are directly related to the effort they invest in learning. In this way they control their own potential for success and the rate at which they improve. I have to reinforce the relationship between things like Region audition results or rewarding solo performances with the amount of focused effort and preparation students dedicate in the practice room. As educators we have to guide students to align what they are capable of doing with what they are willing to do. To become a better teacher I must also provide constructive feedback that not only addresses the musical mechanics of student performance, but also, and more importantly, provides students with hope and builds their sense of I can do this. Mistakes should be viewed as opportunities for learning rather

Mistakes should be viewed as opportunities for learning rather than just as a tally mark on a UXEULFRUDZD\WRGHFLGHZKRLVÀUVWFKDLUIRUWKH week. Southwestern Musician | January 2016 27

than just as a tally mark on a rubric or a way to decide who is first chair for the week. This is doubly vital in dealing with students from challenging socioeconomic circumstances or students who have a history of struggle. We have to help our

students view setbacks as stepping stones along the musical journey rather than obstacles. Finally, I need to become a better colleague for my staff and the faculty at large. It is all too easy to simply teach on

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the island of our own rehearsal or band hall. But, being the old guy of the team, I need to be a better mentor and active role model for the younger educators in my cluster. More importantly perhaps is communicating that we are all in this together and that we can rely on each other for support and encouragement. TMEA Clinic/Convention Update Remember that our TMEA Clinic/ Convention is a great resource for best practices and pedagogical inspiration for what works in Texas music education. The professional development takeaway alone far exceeds the monetary investment. More importantly, the opportunities for affirmation and rejuvenation cannot be missed. Be sure you preregister by January 21 to take advantage of the lower registration fee! A full convention schedule is available online, and if you save your personal schedule there by January 27, you can have it transferred to your mobile guide app in February. Be sure to schedule time to visit the convention exhibit hall and thank our industry partners and product demonstrators for their support for TMEA and

We accept TEA Delayed Payment for IMA Purchases.

Charles Aguillon, Director of Fine Arts, Lake Travis ISD “RhythmBee has opened up the opportunity to build our music curriculum without having to sit down and map it out. Its sequential model of learning drives student improvement at a fast pace while being fun for our kids. The staff has seen tremendous growth in sight reading skills in a very short time. We love it!” 28 Southwestern Musician | January 2016

Margaret Haddad, Choral Director (Retired) - Hanks HS, Ysleta ISD - El Paso, TX “I enjoyed success as a choir director until I found myself at a school without a strong feeder program. With students who had never been in music class, I was expected to produce awardwinning UIL 5A choirs. With some beautiful voices but few experienced music readers, the usual sight reading methods were ineffective. Something drastic needed to happen. Enter RHY THMBEE!!! With RhythmBee Solfeggio Instruction, progress was so easy, even starting from scratch. The exercises projected on the screen helped me know that everyone was at the same place at the same time. Our sight-reading scores went from IV to I in a year’s time. I r ecommend RhythmBee to all of my music educator friends.”


The Best Investment for Your Future a talk with Scott Campbell Based in the Dallas/Fort Worth area, saxophonist Scott Campbell maintains a studio of over 90 students, many of whom have won positions in the Greater Dallas Youth Orchestra, Texas All-State bands, and have gone on to be accepted by top music schools in the country. Scott also serves as a doctoral teaching fellow at the University of North Texas where he teaches undergraduate saxophone.

How is it teaching in Dallas/ Ft. Worth? It is a pleasure teaching in the Dallas/ Fort Worth area. Teaching these students is the most rewarding part of my career. I was not able to study privately in middle or high school so I try to give my students what I never had. They seem to resonate with this and their successes are thrilling for me.

What’s your position on equipment for your students? The right equipment is paramount. In the words of Jamie Aebersold, “play on the best instrument you can afford and study with the finest teachers available.” The reed, mouthpiece, and ligature (what I refer to as the tone generator) is no exception. If the student is playing on good equipment, it will be more enjoyable for them to practice and perform. This will in turn hasten their progress. If a student is fighting against equipment that is hard for them to perform on they will be discouraged and it will slow their progress.

For more on Scott Campbell, visit

The right equipment is paramount. What do you recommend to your students? For classical, I recommend the Vandoren Optimum 3 series to students and band directors. This is a great mouthpiece that allows students to produce a good, characteristic classical saxophone tone with ease. I also recommend the Optimum 5 series to advanced classical students. Reeds are a very personal thing, but I have found the Vandoren V12 to be an outstanding reed and many of my students agree and perform on them as well.

Fo jazz, I recommend the V16 For mo mouthpieces. I switched to the V16 in 2007 and have loved it ever since. These mouthpieces are great for professionals but I have also found them to be a great fit for any student new to the jazz idiom. Again, reeds are a very personal thing but I favor the V16 reeds for jazz. However, many of my student prefer the ZZ reeds. The Vandoren M|O is a great product and compliments the equipment mentioned previously very well. By combining the masters and optimum ligatures, Vandoren has created the new industry standard for ligatures.

For more on Vandoren and how it can benefit you and your students, visit

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music education in Texas. As mentioned in the December issue, you can expect some exciting changes with the expanded convention center! Our Band Division events will be held in brand-new facilities. When you enter the main lobby, you’ll take an escalator up to new meeting rooms 221–225 and farther up to the new third-floor Stars at Night Ballroom. Get familiar with the convention center layout by viewing the online convention floor plans at I’m excited to introduce our invited collegiate ensembles for the 2016 TMEA Clinic/Convention. Be sure to add their concerts to your schedule. Sam Houston State University Jazz Ensemble Aric Schneller, Director Since 1958, Sam Houston State University has enjoyed the distinction of having the oldest jazz festival in Texas. Several distinguished musicians who are former professors and alumni have held major posts across the United States, including Jerry Coker, Bob “Doc” Morgan, David Caffey, and Rod Cannon. In 2011, the School of Music presented a new festival, the SHSU Bill Watrous Jazz Festival, with the intention of preserving Bill Watrous’s (b. 1939) legacy of jazz performance and education by presenting guest artists and clinics for all musicians while forging a jazz educational vision for the university and its community. The SHSU jazz program has held a long, prestigious reputation in Texas, and its ensembles, currently led by Aric Schneller, have performed numerous times at the TMEA convention and have appeared elsewhere throughout the nation. In December of 2014, Schneller and the SHSU Jazz Ensemble performed at the 68th Annual Midwest Clinic International Band and Orchestra Conference and were instrumental in hosting the Carmine Caruso International Jazz Trumpet Solo Competition on September 19, 2015. UT/San Antonio Jazz Ensemble Adrian Ruiz, Director The UT/San Antonio Jazz Ensemble is dedicated to the study and performance of essential works from the big band repertoire. This group is the department of music’s premier jazz ensemble and consists of music majors and non-music majors

Sam Houston State University Jazz Ensemble who share a passion for performing and learning about this uniquely American art form. The UTSA Jazz Ensemble’s concert season includes multiple performances per semester, programming a wide variety of compositions, ranging from the Swing Era to the modern big band writing of today. The ensemble is under the direction of Adrian Ruiz, who joined the UTSA Jazz Studies faculty in 2015. He also serves as the director of the UTSA Jazz Combos and teaches an undergraduate section of

the History and Styles of Jazz. The UTSA Jazz Ensemble has performed with such regional and national luminaries as David Caceres, Tony Campise, Bob Dorough, Dennis Dotson, Steve Houghton, Will Lee, Morgan King, and Marvin Stamm, and they have made appearances at the Wichita Jazz Festival, the University of Northern Colorado/ Greeley Jazz Festival, and the Sam Houston State University Bill Watrous Jazz Festival.

Clark W Fobes Clarinet and Saxophone mouthpieces Responsive, Reed friendly, Reasonably priced! Visit us at TMEA (Booth 521) and pick up a FREE

“Debut” clarinet or sax mouthpiece. Also for sale: San Francisco mouthpieces, Fobes clarinet barrels, Ishimori ligatures and Leuthner reeds at special TMEA prices! And, introducing our newest professional mouthpieces, the 10K series for clarinet and bass clarinet mouthpiece. Computer milled from superior German rubber and hand finished in my standard facings. Now accepting all major credit cards and PayPal Southwestern Musician | January 2016 31

The Moores School of Music Wind Ensemble David Bertman, Conductor The Moores School of Music Wind Ensemble has continued the tradition of artistic excellence and ensemble pedagogy that has become its signature. In 2013, the Wind Ensemble released a CD on the Naxos label featuring Nicolas Flagello’s Symphony No. 2 “Symphony of the Winds” and Arnold Rosner’s Symphony No. 8 “Trinity,” garnering recognition and acclaim from Fanfare Magazine. Most recently, the Moores School of Music Wind Ensemble performed the United States premiere of Leroy Osmon’s ballet for symphonic band and dancers: The Garden of Earthly Delights in artistic collaboration with Dance Houston and the composer. The University of Houston Moores School of Music Wind Ensemble consists of the highest caliber of undergraduate and graduate musicians. The Moores School of Music is one of the premier comprehensive music schools in the nation. Its remarkable faculty of internationally recognized performers, composers, and scholars, outstanding student body, modern facility, and broad range of programs make the Moores School of Music the natural choice for nearly 600 students annually. The school’s commitment to academic excellence and the highest performance standards has ensured its role as a vital resource in the educational and cultural life of Houston and beyond. West Texas A&M University Symphonic Band Don Lefevre, Conductor The West Texas A&M University Symphonic Band consists of the most select wind and percussion performers on campus. The strong support and involvement shown to the band program by the faculty creates an atmosphere conducive to effective teaching, which ensures the success of this program. During the last five decades, there have been only two conductors of the West Texas A&M University Symphonic Band. Under the direction of Gary Garner and Don Lefevre, the Symphonic Band has established a national reputation through past performances at the College Band Directors National Association convention and Carnegie Hall and 14 performances at the TMEA convention. 32 Southwestern Musician | January 2016

Graduates from the WTAMU Symphonic Band are among the most influential leaders in teaching positions at the elementary, secondary, and collegiate levels and can be found holding positions in orchestras around the world, as well as the leading military bands of the armed forces. Baylor University Wind Ensemble Eric Wilson, Conductor The Baylor Wind Ensemble is the premier wind band of the Baylor University School of Music and has been praised as “one of the flagship programs in the nation.” Past performances at conferences were characterized as “nothing short of spectacular” and “representing the best in wind band performance.” Organized in 1972, the Baylor Wind Ensemble is guided by a philosophy that seeks to educate and expose its students and audiences to the highest quality music representing a diversity of musical styles and historical periods. In more than four decades of existence, the Baylor Wind Ensemble has appeared numerous times at regional and national conventions. Since 2006, collaborations with composers Michael Colgrass, William Bolcom, David Maslanka, Donald Grantham, Frank Ticheli, Scott McAllister, Steven Bryant, John Mackey, and many others have provided compelling perspectives and inspiring interactions. Additionally, the Baylor Wind Ensemble has welcomed distinguished guests H. Robert Reynolds, Tom Lee, Richard Floyd, Allan McMurray, Gary Green, John Whitwell, Michael Haithcock, Larry Combs, and Joseph Alessi. Graduates of the Baylor Wind Ensemble hold distinguished teaching positions and appointments in orchestras and military bands throughout the world. The group’s conductor is J. Eric Wilson, now in his 10th year as Director of Bands and Professor of Conducting and Ensembles. Wilson is Past-President of the Big 12 Band Directors Association and current President of the CBDNA Southwestern Division. He was recently elected into the American Bandmasters Association and honored as Outstanding Professor for Tenured Teaching by Baylor University in 2014.  (More group pictures on page 35.)

UT/San Antonio Jazz Ensemble

West Texas A&M University Symphonic Band

Moores School of Music Wind Ensemble

Baylor University Wind Ensemble Southwestern Musician | January 2016 35

Selecting the Right Literature by Fred J. A llen and Corey L. Graves


eflecting on our teaching is one of the best ways to improve it. What did my students leave knowing at the end of the year? Did I expose my students to quality literature? Is concert B-flat the only key in which we can read? Planning literature for a band is one of the most important elements of a director’s job. A thoughtful, welldeveloped yearlong plan will help maximize student learning by ensuring all objectives are addressed by the end of the year. As we examine the music we perform with our ensembles, we must consider the factors that influence our selections. The literature chosen for a band should fit into an overall curriculum for the ensemble. Ideally, pieces will address the same developmental elements of playing that daily drill and technique exercises develop. A piece of music should not be treated as an end in itself, but rather a part of a larger picture of what the players learn over a longer period of time. We spend countless hours developing tone, defining varied articulation styles, and expanding range. Why not choose pieces that will progressively develop these skills? Sometimes, music must be performed for a specific purpose: a pep rally, a patriotic assembly, a parade, and such. Outside of those occasion-specific pieces, the literature covered during a school year should address a variety of styles and forms. By the

A piece of music should not be treated as an end in itself, but rather a part of a larger picture of what the players learn over a longer period of time. 36 Southwestern Musician | January 2016

end of the year, we want our students to have a set of skills, not just a list of songs. Literature selection is an important aspect of every music teacher’s instructional delivery that fulfills the music TEKS. You likely are already covering many of the TEKS simply by the literature you choose for your students to study. The music TEKS direct us to have our students perform a variety of music, including music from various genres and cultures. The Music TEKS introduction states, “By experiencing musical periods and styles, students will understand the relevance of music to history, culture, and the world, including the relationship of music to other academic disciplines and the vocational possibilities offered.” It is also through careful repertoire selection that we can accomplish instruction in the Music Literacy TEKS—specifically defined for each level of instruction. Every strand of the music TEKS has elements that can be addressed by sound literature selection, so take some time to identify how the literature you are considering for a group could accomplish the music TEKS specific for their level of instruction. Establishing Each Year’s Repertoire Before the school year starts, the director needs to assess the skills of the band. Who are the students? What skills do they possess? What do they need to know for the following year? There are often diverse skill levels within a band that must be addressed when choosing literature. A good director identifies both strong and weak sections to find music that challenges each set of players—playing to your strengths while challenging developing sections. Let’s take an example: the director of an advanced middle school band must consider the skills those students should exhibit by the time they enter high school band the next school year. Music can be chosen that teaches and reinforces those skills. We


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should always be preparing students for the next level of ensemble. Director’s Checklist of Educational Objectives Treat the year’s repertoire as your band class textbook. No single piece will address every element on this list, but in the course of a year, all of the items should have been covered by some piece of music. Great directors select literature that will progressively develop the following: • Tone

• Multi-movement works: These selections can demonstrate how smaller pieces make a whole and how they are related. Demonstrate thematic development if themes are shared between movements.

Band Director’s Music Checklist A well-rounded repertoire list will contain a diverse set of music. The literature students perform should be appropriate for their playing level. While it is recommended to challenge your students, do not inundate them with too much too soon. Leave personal egos out of the equation and provide the students with a quality musical experience. Middle school bands will be wellserved when they have played music in all these categories:

• Varied march styles (in 2/2 and 6/8— not just 2/4): Marches are a great way to teach form! Melodies are easily defined in marches, so a teacher can reinforce foreground and background concepts. Because marches have a regular, steady beat, they are great

• Tuning/listening skills • Rhythm • Articulation • Technique • Dynamic contrast • Phrasing/musicianship • Range • Reading varied key signatures • An understanding of different styles and forms: Attempt to cover various time periods, cultures, composers, and forms with each performing band during the school year. • Weak sections (to help them develop) • Strong sections (to challenge them to keep growing) • Ensemble balance and blend: Use the pieces you select to reinforce listening skills. Look for spots in the music that help you teach concepts of balance. Assign specific passages for matching within the section, within the family of instruments, and with other sections in the ensemble. • Individual players • Soloists • Sightreading skills The most successful pieces allow for musical success while remaining just challenging enough to require continued development. A director must achieve a delicate balance, playing difficult enough pieces to help the ensemble grow, while playing works within the grasp of the ensemble’s skill level so they continue to feel successful. Perhaps another way of meeting your yearlong goals is to use a different type of checklist.

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

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Resources to Help Your Selection There are multiple resources that can aid in your selection of band literature. Use publishers’ websites to identify new pieces and to learn more about older ones. Living composers usually have websites too. Both publishers and composers often provide reference recordings online. There are also some books that can aid the director who wants to know more about band literature: • Battisti, Frank, et al. Sourcebook for Wind Band and Instrumental Music. Delray Beach, FL: Meredith Music, 2014. • Camphouse, Mark. Composers on Composing for Band, Volumes 1-4. Chicago: GIA Publications, 2002–2009. • Miles, Richard, et al. Teaching Music Through Performance in Band. Multiple vols. Chicago, IL: GIA Publications, 1997–2015. • Salzman, Timothy. A Composer’s Insight: Thoughts, Analysis and Commentary on Contemporary Masterpieces for Wind Band. Volume 1-4, Galesville, MD: Meredith Music Publications, 2003–2009.

for turning off the metronome and holding the students accountable for the pulse. Don’t forget that marches come in a variety of flavors. In addition to traditional marches, there are pasodobles, processionals, and circus marches, not to mention marches from other countries.

• Pieces in keys other than B-flat or E-flat • Slow/lyrical pieces: Use these works to develop tonal control and band sound. Plan phrasing and help students understand the difference between planned phrasing (4 bars, 8 bars, etc.) and passages that require staggered breathing. If the phrases are typical 4-bar units, teach the crescendo/diminuendo arch common to Western music. When a piece has a slow tempo, this is a perfect opportunity to enhance listening and tuning skills. • Something for the percussionists and low brass • Pieces with solo opportunities: Solos can showcase the stars in your band and they can build independence and confidence in developing players. Solos allow for a display of musicality. • Contemporary pieces: Newer works are part of a comprehensive music education. Dialogue with a living composer is an enriching experience for students. • Multicultural pieces: Music from other cultures often uses less familiar harmonies and rhythms. These pieces can teach how music relates to culture and society. • Something fun and recognizable— perhaps a pop tune: Band should be fun! Recognizable music can aid program retention, and it is helpful to

40 Southwestern Musician | January 2016

have pieces that can be played at pep rallies and recruitment concerts. • Pieces with rhythmic independence: As musicians develop, they encounter more rhythmic independence in their parts. In addition to reinforcing counting responsibility, more confidence in reading can be developed. • Varied time signatures beyond 2/4, 3/4, and 4/4: A complete musician has to understand the difference between duple and compound meter. Use the music to demonstrate when changes occur in the division of the beat. Ultimately, teachers want students to experience asymmetric meters. • Transitional pieces: Segmented pieces allow students to learn how to negotiate transitions with finesse. Music that changes character can be used to teach players to adapt quickly to changes in meter, tempo, and style. Directors of high school bands should certainly consider the preceding categories as they extend the education of their players. As players gain more skill and musical maturity, teachers should also consider the following: • Contrasting transcriptions with original works for band • Contrasting older pieces with newer • Contrasting style and tempo between pieces • Performing serious works that display both art and craft • Allowing for the teaching of form in music Most teachers don’t have the opportunity to create a customized textbook that fits the needs of their students, building on what they know and challenging them to grow. Take advantage of this unique position and spend the time needed to offer your students the best possible repertoire that ensures their growth and musical enjoyment.  Fred J. Allen is Director of Bands and Professor of Music at Stephen F. Austin State University. Corey L. Graves is Director of Bands at Roma MS.

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Back to the basics


January 11–12—All-State housing entry. January 20—Deadline to cancel a convention hotel reservation without penalty. January 21—Early registration deadline (fees increase after this date). January 21—TI:ME Technology February 10 Preconference preregistration deadline. February 10–13—TMEA Clinic/Convention in San Antonio. February 11, 5:15 p.m.—Orchestra Division Business Meeting at the convention.

here are days when I feel like I’m totally spinning my wheels in rehearsals. I’m sure I’m not the only one who has days when it’s difficult to get the students’ attention, when music you thought had been learned sounds like it’s being sightread, when progress seems to be stuck in reverse. Those are the times it is helpful to step away, literally and figuratively, and be reminded of rehearsal basics. Perhaps some of the following ideas, none original or new, will help refocus and renew your rehearsal approach. Start every rehearsal with careful tuning. Playing a string instrument with good intonation is enough of a challenge. There is no need to make it more difficult by playing instruments with strings that aren’t in tune. Whether your tuning time is teacher- or student-directed, work to maintain a discipline of quiet listening during tuning time. Take time to make small adjustments so open strings are well in tune. Start each rehearsal with an outline or lesson plan on your board so everyone knows what’s on deck for the day. Regularly include work on technique in rehearsals, whether it is as fundamental as playing a scale in the key of the first piece you plan to rehearse, incorporating vibrato exercises during tuning time, or a more structured progression through positions, shifting, complex rhythms, or tone production. Link your technical work whenever possible to the music the students are currently learning. Use some of every rehearsal to review or reteach concepts and music covered in previous rehearsals. As we all know, many elements of string playing are skills that are constantly revisited and refined as they are committed to muscle memory. Weak skills and bad habits also go into that muscle memory bank, making it even more important to be diligent in cultivating strong

Perhaps most important is to remember that rehearsals are a process. We are striving to improve skills, teach new ones, and build consistency. Southwestern Musician | January 2016 43

fundamentals. Keep track of what was covered in earlier rehearsals so you can begin each day’s work at or near the place the previous practice ended. Perhaps keeping a pad of sticky notes at the podium for the purpose of marking the next day’s starting place will help build continuity from one rehearsal to the next. Even when just starting to rehearse a new selection, try to do a play-through of the portion that has been covered. This is especially important on days when most of the rehearsal has been spent picking

things apart. Give the students an opportunity to put together what you’ve been trying to teach. Not only will that help you gauge the efficacy of your lesson, it should give your students some gratification for their focus and work. Be aware of your starting place in a piece, over a period of days or weeks. How many of us have fallen into the startat-the-beginning trap, preparing a piece that sounds great at the opening and gets weaker as we play further into it? You can put my name on that list! Know your repertoire well enough to skip easily through

The Pursuit of Excellence. Audition Dates: February 6, 2016 (No Percussion) February 20, 2016 February 27, 2016 (Vocal Only) March 19, 2016

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44 Southwestern Musician | January 2016

it, finding each place the same or a similar phrase occurs. As you teach a passage, at the very least, call the students’ attention to the other places it occurs. Better yet, rehearse each occurrence as part of that day’s lesson. Consider incorporating short times (45 to 60 seconds) of student free practice, limiting them to the music or concept that the orchestra is working on. In my classes, this helps to cut down on the student’s urge to try a skill while I’m teaching or rehearsing another section. Extending this idea, when students are given this practice time, ask each to identify a measure or group of notes that is still presenting problems. Take this student-created practice list and use it immediately to continue cleaning up things or save it to plan the next rehearsal. As performance day draws near, begin playing through a piece as if it is performance ready. You can even stand off to the side of your room, as if you are backstage, and have the students go through all the steps they will need when they really are on stage: conductor walks on and bows, tune, students are at rest position and then ready position, and the piece finishes and students acknowledge audience applause. I’ve also found this is an excellent way to refocus attention if rehearsal discipline becomes too relaxed. Perhaps most important is to remember that rehearsals are a process. We are striving to improve skills, teach new ones, and build consistency. There are always going to be days that are frustrating. May your good rehearsals outnumber the rest! HS String Honor Orchestra Congratulations go to the finalists and winner of the HS String Honor Orchestra competition and thanks go to the hosts and judges of this event. View the finalists and winner list on page 47. Clinic/Convention Update With our convention only one month away, I hope you’re getting excited at the prospect of reconnecting with colleagues and improving your knowledge and skills through many wonderful clinic and concert opportunities. As you read last month, we have some changes in store with the newly expanded convention center. Be sure to look at the online floor plans at loor to see where you’ll register when you arrive


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(as that has changed) and also to locate the rooms where our Orchestra Division clinics are being held (CC 214 AB and 214 CD). This month, Iâ&#x20AC;&#x2122;m pleased to introduce our High School String Honor Orchestra. Our other Honor Orchestras were featured in the November issue. Be sure to add their performances to your convention schedule! Plano West SHS Chamber Orchestra Ryan Ross, Director The Plano West Orchestra is proud to be recognized as one of the most accomplished orchestra programs in America. Plano West is a grade 11 and 12 campus in Plano, a Dallas suburb. The orchestra program currently serves approximately 200 students in six orchestra classes. Since its inception, Plano West has been selected as the Texas String Honor Orchestra six times, most recently for 2016. Nationally, it has been recognized as an invited orchestra at the Midwest Clinic and been named a National Winner in the Mark of Excellence National Orchestra Honors (string and full orchestra). The program as a whole routinely earns UIL Sweepstakes awards. Plano West SHS is fed by Jasper HS and Shepton HS (which are in turn fed by Robinson, Rice, Frankford, and Renner Middle Schools). Plano West Orchestraâ&#x20AC;&#x2122;s success is rooted in the excel-

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





Plano West SHS


Ryan Ross


Jasper HS


Matthew Moreno


Clear Lake HS

Clear Creek

Bryan Buffaloe


Westwood HS

Round Rock

Susan Williams


Taylor HS


Clinton Capshaw


Klein HS


Creston Herron


Rockwall HS


Charlsie Griffiths


Bellaire HS


Laurette Reynosa


Plano SH


Brian Coatney


Shepton HS


Joshua Thompson

lent instruction its students receive at these feeder schools, each of which has also garnered significant recognition. As a campus, Plano West is proud of the academic rigor in its course offerings. The class of 2015 had 43 National Merit Finalists, and Newsweek recently listed the school among the top 1% in the nation. Jo Wallace-Abbie was the first head

director of Plano West, and it was under her leadership that it became an orchestra program known and respected across Texas. After her retirement, Ryan Ross assumed his current position with the program. And for many years, associate director Amy Gross has been absolutely vital in helping the program grow and thrive. 

Plano West SHS Chamber Orchestra Southwestern Musician | January 2016 47

Music Education in the Law by Robert Floyd


ine arts holds a most prominent placement in law and State Board rule. Regardless, I continue to receive numerous calls from members with questions about arts-related situations that are affected by state law or State Board rule. I usually refer them to the document on our website entitled “What the Law Says,” a concise explanation of the critical policies that most frequently come into question. In this article, I aim to share a bit more detail on each of these policies. Mission and Objectives Objective 4 of the Texas Education Code (TEC) states: “A well-balanced and appropriate curriculum will be provided to all students.” Chapter 28.002 of the TEC states, “Each district shall ensure that all children in the district participate actively in a balanced curriculum designed to meet individual needs.” Quite often when I testify at the capitol, I include the above objective from General Provisions, Chapter 4, of the TEC—the 1,600+ pages of law that define education policy in our state. Note that this objective states that a well-balanced education will be provided not to some students, but to all students. Further, TEC, Chapter 28, speaks to ensuring that all children have the opportunity to participate actively in a balanced curriculum designed to meet individual needs. HB 5, signed into law at the conclusion of the 2013 legislative session, took a significant step in allowing our students to pursue their passion, as demonstrated by the adoption of five endorsements, one of which accommodates the Arts and Humanities 48 Southwestern Musician | January 2016

student. When students are denied a well-balanced education because of pull-out and test remediation for STAAR, it is sometimes helpful to point to Objective 4 as a reminder of an original objective of the law to ensure every child receives an education that includes the arts. Required Curriculum The required curriculum includes foundation and enrichment subjects. The word required in the TEC means that “each school district that offers kindergarten through grade 12 shall offer this curriculum.” The above statement is found in TEC, Chapter 28.002, in the section that speaks to Courses of Study, Texas Essential Knowledge and Skills, and Curriculum. This statement lists the subjects that must be taught and clearly speaks to the importance of students receiving exposure to all subjects of the required curriculum, which includes both foundation and enrichment subjects addressed below. Fine arts is a part of the enrichment curriculum and thus required to be taught. Foundation Courses English language arts, mathematics, science, and social studies are called foundation courses because the TEC’s academic objectives identify these courses as the foundation of a well-balanced and appropriate education. These subjects will continue to drive assessment and accountability at the state level.

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Saturday, January 30, 2016 3:00 PM – Chamber Orchestra Concert Purcell: Suite from the Fairy Queen Bach: Violin Concerto in A minor

Bach: Partita No. 2 in B minor

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Vivaldi: Four Seasons, “Summer” and “Winter”

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For several sessions, TMEA has considered seeking a sponsor for legislation that would move fine arts from the enrichment to the foundation curriculum. At TMEA’s request, a bill was drafted during the last session that would not move fine arts up to foundation but would tear down the wall between foundation and enrichment; however, there was not sufficient time to get the bill successfully through the process. It will continue to be an area of importance for teachers of fine arts and all enrichment disciplines. Enrichment Courses Fine arts courses are a part of the enrichment curriculum, a component of the required curriculum. By definition, enrich means “to make richer, to add greater value or significance.” It does not mean extra, not necessary, elective, or optional. These courses are an integral part of the educational process and in many cases are the courses that give meaning and substance to a child’s education and to his or her life. By law, school districts, as a condition of accreditation, must utilize the TEKS in delivering instruction in all subjects of the required curriculum—not just in foundation courses. Four of the five new endorsements for graduation are anchored in enrichment subjects. The Foundation High School Program requires all students to earn three enrichment course credits toward graduation (1 P.E. credit, 1 fine arts credit, and 2 languages other than English credits). Texas Essential Knowledge & Skills The State Board of Education identifies the Texas Essential Knowledge and Skills (TEKS) for all subjects of the required curriculum. The TEKS define what students should know and be able to do in each academic subject area and each grade level. Newly revised TEKS are currently in place for all fine arts disciplines. Early drafts of the 1995 TEC rewrite mandated there would be TEKS only for the foundation subjects. TMEA convinced the House Public Education Chair that if a course is important enough to be required to be taught then the curriculum should comply with state standards. However, when this 1995 version of the TEC was adopted and signed into law by then Governor Bush, TEKS for enrichment subjects were only guidelines, sending the message that those subjects,

including fine arts, were not as important as foundation courses. In 2003, SB 815 was passed by the legislature with TMEA’s support. It required that the TEKS drive curriculum for all subjects of the required curriculum as a condition of accreditation. No piece of legislation in recent years has elevated the status of fine arts and other enrichment subjects more than SB 815. In addition, in 2011, SB 6 was passed that requires school districts to provide instructional materials that cover 100% of the TEKS in all fine arts courses. Elementary Requirements State Board rule (Texas Administrative Code [TAC], Title 19, Part 2, Chapter 74, Subchapter A) mandates that school districts provide TEKS-based instruction in music, art, and theatre at each grade level. School districts may deliver this instruction in a variety of arrangements and settings. This means that students must receive music instruction in grades K–5. While a classroom generalist is certified to teach music, as well as theatre and art, a welltrained music specialist is much more qualified to deliver this music instruction. The TEKS for art and theatre are quite often embedded in English language arts and social studies courses. Middle School Requirements State Board rule (TAC, Title 19, Part 2, Chapter 74, Subchapter B) mandates that each student must complete one TEKSbased fine arts course in grades 6, 7, or 8. A district shall offer and maintain evidence that students in middle school have the opportunity to take courses in at least three of the four disciplines in fine arts (art, music, theatre, and dance). The requirement to offer three of the four disciplines in fine arts may be reduced to two by the commissioner of education upon application of a school district with a total middle school enrollment of fewer than 250 students. High School Required Course Offerings High schools must offer at least two of the four state-approved fine arts subjects (art, music, theatre, and dance). Graduation Requirements Under state law, the Foundation High

School Program requires one credit of fine arts for graduation for all students earning a Texas diploma. Students under this latest graduation program may pursue an Arts and Humanities endorsement that allows the serious music student the flexibility to take multiple fine arts courses that count toward graduation. Fine arts continues to be defined as an “academic core component” in the Foundation High School Program in the State Board rules, entitled the TAC, Title 19, Part 2, Chapter 74, Subchapter B. P.E. Credit Through Fine Arts Participation In accordance with local district policy, the one-credit physical education graduation requirement may be earned by participating in marching band or by successfully completing any fine arts course that includes at least 100 minutes of moderate to vigorous physical activity. A student may receive both a fine arts and P.E. credit if they successfully complete a band course and participate in the activity, marching band. However, a student completing other TEKS-based fine arts courses, such as show choir, that include the above stated 100-minute physical activity requirement, will not receive both the fine arts and P.E. credit. No Pass No Play All TMEA and UIL activities are extracurricular and thus fall under the rules of No Pass No Play. TMEA continues to work with UIL staff and the Commissioner of Education’s office at TEA to define UIL Concert and Sightreading Contest as an evaluation rather than a competition or activity. As such, it would not be subject to No Pass No Play rules. Significant progress has been made, but a schedule for a final decision is unknown at this time. Pull-out for Test Preparation and Remediation Much has been discussed about this subject over the years, and in 2013 TMEA was finally successful in having language included (in HB 5) that limits such action by school districts. As HB 5 states, the board of trustees of each school district shall adopt and strictly enforce a policy limiting the removal of students from class for remedial tutoring or test preparation. A district may not Southwestern Musician | January 2016 51

remove a student from a regularly scheduled class for remedial tutoring or test preparation if, as a result of the removal, the student would miss more than 10% of the school days on which the class is offered, unless the student’s parent or another person standing in parental relation to the student provides to the district written consent for removal from class for such purpose. For updated information on this topic, I encourage you to go to pullout. The law does not limit the pull-out practice to the degree we all wish it did, but the above language, if followed, takes a significant step in protecting a student’s right to be successful in non-assessed subjects such as music. Community and Student Engagement In accordance with the Texas Education Code (TEC), §39.0545(a), each school district shall assign performance ratings to the district and each campus for community and student engagement for fine arts based on locally determined criteria. Each school district shall designate a local committee to determine criteria

that districts shall use to evaluate and assign a rating to its fine arts program of Exemplary, Recognized, Acceptable, or Unacceptable for the district and each campus. Each school district shall require the local committee(s) to determine the criteria that districts shall use to evaluate and assign a status of “Yes” or “No” on the record of the district and each campus regarding compliance with statutory reporting and policy requirements under the TEC, §39.0545. TMEA members should encourage parents and community members to utilize this opportunity to advocate for the value of the arts in the education of the whole child. Federal Legislation: Every Student Succeeds Act On December 10 President Obama signed into law S. 1177, the Every Student Succeeds Act. This new legislation replaces the core academic curriculum definition from No Child Left Behind with new language defining the components of a well-rounded education. For the first time, music is listed in the law as a stand-alone subject, providing clarity and meaning to the importance of

music and the arts in a child’s education. The new proposed legislation also mandates the inclusion of the arts in STEM education. As a reminder, the TEC contains the laws that guide education in our state, while the State Board of Education and Commissioner’s Rules provide the rules school districts follow to carry out the law. The above listing does not include every law and rule that may protect fine arts on your campus or in your district, but it does highlight the major areas. We always have to be mindful of that fact that while law and rule guide the educational process in our state, we live and work in a state where the cornerstone of educational philosophy is driven by local control. Thus, if districts persist in depriving students of meaningful participation in your program, there is sometimes little the state can do. As always, this office will continue to serve as a resource for you when you need answers to policy questions that may surface in your district. We will assist you in any way we can. 

College of Fine Arts & Communication Mary Morgan Moore Department of Music

52 Southwestern Musician | January 2016


7H[DV(GXFDWLRQ&RGH0LVVLRQ 2EMHFWLYHV A well-balanced and appropriate curriculum will be provided to all students. â&#x20AC;&#x201D; TEC, Objective 4.

Each district shall ensure all children in the district participate actively in a balanced curriculum designed to meet individual needs. â&#x20AC;&#x201D; TEC, Chapter 28.002

Required Curriculum and Skills The TEC directs school districts with kindergarten through grade 12 to offer the Required Curriculum.

The TEC segments the Required Curriculum into Foundation and Enrichment subjects. Fine arts is part of the Enrichment Curriculum and thus must be taught.

The State Board of Education adopts the Texas Essential Knowledge and Skills (TEKS) for all subjects of the Required Curriculum. Music TEKS are defined for every level, and instruction must cover 100% of these TEKS as a condition of accreditation. Districts must provide instructional materials that cover 100% of the TEKS in all fine arts courses.

Requirements at the Grade Level Elementary

State Board rule mandates that school districts provide TEKS-based instruction in all subjects/ courses of the Required Curriculum in grades Kâ&#x20AC;&#x201C;5, including music.

Pull-out Limitations

Middle School

State Board rule mandates that each student complete one fine arts course in grades 6â&#x20AC;&#x201C;8, and the district must offer courses in three of the four fine arts disciplines (or two, if reduced by the commissioner of education based on school size).

The TEC directs school districts to establish policies that strictly limit the pull-out of students from a regularly scheduled class for remedial tutoring or test preparation. The policy limits pull-out to 10% of the school days on which the class is offered (unless authorized to extend to 25% by a parent/guardian).

High School

High schools must offer at least two of the four stateapproved fine arts subjects. Every high school student must successfully complete one fine arts credit to graduate.


The TEC states that the Foundation High School Program require one credit of fine arts for graduation for all students. Students under the latest graduation program may pursue an Arts and Humanities endorsement that allows the serious music student the flexibility to take multiple fine arts courses as part of their graduation plan. Southwestern Musician | January 2016 53




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ow was your first semester? For meâ&#x20AC;&#x201D;between starting a new job, being State Vocal Chair, and having my son start collegeâ&#x20AC;&#x201D;it was a whirlwind. In the past six months, I have visited many classrooms, subbed for choir teachers, attended many meetings, presented several clinics, and conducted a few Region Choirs. I have learned so much and have been reminded about some very important aspects of being an educator. With that, below are some thoughts I ask you to consider.

January 9â&#x20AC;&#x201D;Band and Vocal Area auditions. January 11â&#x20AC;&#x201C;12â&#x20AC;&#x201D;All-State housing entry. January 20â&#x20AC;&#x201D;Deadline to cancel a convention hotel reservation without penalty. January 21â&#x20AC;&#x201D;Early registration deadline (fees increase after this date). January 21â&#x20AC;&#x201D;TI:ME Technology February 10 Preconference preregistration deadline. February 10â&#x20AC;&#x201C;13â&#x20AC;&#x201D;TMEA Clinic/Convention in San Antonio. February 11, 5:15 p.m.â&#x20AC;&#x201D;Vocal Division Business Meeting at the convention.

Donâ&#x20AC;&#x2122;t Be Too Surprised At some point, bad things and very upsetting things will happen. Amazing and wonderful things will also happen. Deadlines will approach very rapidly, sometimes with little warning. Students with whom you feel very connected as a teacher will leave you or transform into a young person you no longer recognize. Some days, the contest, concert, trip, or parent conference will take a turn that you simply did not expect. Be careful not to overreact to these potential surprises. It can be hard not to take some situations personally, but it is essential to our survival that we take ownership and control of our reactions. The amount of change we experience as teachers is amazing. Every year, we meet and teach new students. We typically work on different music each year even if we have set traditions within our choirs. Our building principals change, counselors change, policies change, and involved parents change. How we teach must change, too. What works with one choir may not work with another. Teachers who donâ&#x20AC;&#x2122;t look for and embrace change are often frustrated. Is laughter really the best medicine? I believe it can be. One thing I know is that we have to look for joy and delight in our daily lives. There are so many sourcesâ&#x20AC;&#x201D;the growth of students, the successes they experience, the beauty


of music-making, collaboration with our colleagues, moments with our family and friends. While there are many sources for joy, we still often have to seek it out, and when we find it, we need to revel in that feeling.

teach people how to treat you.â&#x20AC;? Boy, did my classroom management change after I began to apply that concept! A few years later, another veteran teacher told me, â&#x20AC;&#x153;What you accept is what you approve.â&#x20AC;? When I was honest with myself, and went back to listen critically to how the choir sounded, I began to realize that my expectations were not high enough. Over time, as I raised my level of expectation, our choirs got dramatically better, and so did my teaching. Our personal standards influence what we do, how we do it, and how we engage others in our daily lives. It is essential that as educators and musi-

Live by Your Principles When I started working as a head high school choir director, I had so much to learn. I had lots of decisions to make and had to learn to work with a wide variety of people, as well as become a better teacher. I learned a valuable lesson from a wise colleague. She told me, â&#x20AC;&#x153;You must





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cians, we strive for the highest levels. Much of what I am talking about is reflected in Rudyard Kiplingâ&#x20AC;&#x2122;s poem â&#x20AC;&#x153;If.â&#x20AC;? I encourage you to find a copy in print or online as you consider this important work we are doing. The beginning of a new semester is an opportunity to reflect. The beginning of a new year is an opportunity to make some resolutions, and start over, if necessary. Take good care of yourself, and I hope to see you at the TMEA Clinic/Convention next month. Thanks for what you do for choral music and the singers of Texas. TMEA Clinic/Convention Update Most of our Vocal Division clinics and all of our Invited Performing Choir concerts will be in the Grand Hyatt. Clinics will be on the second floor and concerts on the fourth floor. A few clinics as well as our All-State Choir rehearsals will be in the convention center and of course, thatâ&#x20AC;&#x2122;s where youâ&#x20AC;&#x2122;ll find the huge exhibit hall! Be sure to look at the online floor plans at to get a better idea of where everything is located in this newly expanded facility. Our convention schedule is also online at Completing your schedule is the first step to creating your CPE record. If you save your schedule before January 27 and register, TMEA will transfer this schedule to your mobile guide app account for easy access during the event! This month, Iâ&#x20AC;&#x2122;m pleased to bring you information about more of our Invited Performing Choirs. Six other choirs were featured in the November issue. Be sure to attend these wonderful performances! 6PLWKĂ&#x20AC;HOG069DUVLW\ Tenor Bass Choir Jennie Crawford and Debbie Pilgrim, Directors The Smithfield Varsity Tenor Bass Choir is an auditioned group of seventhand eighth-grade boys from Smithfield MS (Birdville ISD). They are chosen for their musical abilities, academics, citizenship, and leadership. These young men perform annually at various school concerts, community events, and choral competitions. They are actively involved in all aspects of student life on campus, including private voice lessons, pre-AP classes, athletics, and other performing arts. Smithfield Choirs have been suc-

ry 5-6 Februa 4-5 March

6 1 5 1 20 Auditions p i h s r a l o h Sc

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cessful in maintaining choral excellence, consistently receiving UIL Sweepstakes awards and have been awarded best-inclass and grand champion honors at area choral festivals. The Smithfield Varsity Tenor Bass choir is directed by Jennie Crawford, who is currently in her 14th year of teaching, all of which have been at Smithfield MS. In 2007, she was honored as the first recipient of the TCDA Distinguished Young Director Award. Associate Director Debbie Pilgrim graduated from Baylor University and is currently in her third year of teaching. The 2016 TMEA convention marks the third time Jennie Crawford and a Smithfield Choir have been honored to perform (previous performances were in 2006 and 2009). Martin HS Chamber Singers Kay Owens, Director The Martin Chamber Singers is a vocal ensemble composed of the top students in the Martin choral program. The program has a total of 400 students involved in 10 performing organizations at Martin HS (Arlington ISD). Among the 37 members of Chamber Singers, the students are involved in theater, band, orchestra, athletics, student council, and many different clubs on campus. Seventy-five percent of the students in Chamber Singers take advanced-placement courses. Martin choirs have performed at three previous TMEA conventions (1995, 2005, 2008) and three National ACDA conventions (1997, 2005, 2013). In 2006, Martin Chorale was selected by Carnegie Hall as one of three high school choirs to perform at the National Youth Festival. Martin Choirs consistently earn UIL Sweepstakes awards and have eight to ten students each year named to the prestigious Texas All-State Choirs. Martin HS Chamber Singers are led by director Kay Owens, who has more than 30 years’ experience as a secondary choral music teacher. She earned her bachelor’s in music education from Mississippi State University and her master’s degree in choral conducting from Mississippi College. %RRNHU7:DVKLQJWRQ+639$ 9DUVLW\7UHEOH&KRLU Gloria Stephens, Director The 41 students in the Varsity Treble Choir of the Booker T. Washington HS for the Performing and Visual Arts

(Dallas ISD) enjoy a rich legacy of pride and musical success. The 900 students who attend this arts magnet are fortunate to call the Dallas Arts District their home. Established in 2006, the Varsity Treble Choir has earned UIL Sweepstakes awards each year since and has consistently earned superior ratings at the UIL sponsored Region Solo & Ensemble Contests. Several members earned “Outstanding Performer” awards. The choir was invited to perform at the 2008 TMEA convention as well as at the 2010 Southwest American Choral Directors Association Convention. As active members of the community, these young women have performed in many venues from women’s shelters and local universities to churches and every major venue in the Dallas Arts District. Choir members plan to become active musicians when they graduate from college, yet many participate in activities outside of the music program while at school. Twenty-five percent belong to the National Honor Society. Booker T. Washington’s Student Council President, Mu Alpha Theta president (math honor society), its 2016 salutatorian, and one of the co-presidents of its Film Club are all vocal majors and are members of

this ensemble. Gloria Stephens has served as choral director since 2002. Craig MS Concert Girls Choir Wendy Weeks, Director Byron Craig MS is a 1,000-student campus serving sixth- through eighthgrade students in the Abilene ISD with 250 young musicians in the choral program. Ensembles include Sixth Grade Girls and Boys Choirs, Boys Chorale, Bel Canto (non-varsity treble), Concert Girls Choir (varsity treble), and Concert Boys Choir (varsity tenor-bass). Since Craig MS opened in 2007, the Craig Choirs have consistently earned UIL Sweepstakes awards. The Craig Choir is well represented in TMEA Region Honor Choirs and at Solo and Ensemble Contest each year. In 2014, the Craig Concert Boys Choir performed under Wendy Weeks’s direction as one of two middle school invited boys choirs at the TMEA convention. The Concert Girls Choir consists of seventh- and eighth-grade girls who are selected by audition. Choir members are visible in many activities on the Craig campus including student council, preAP classes, UIL academics, athletics, and

Martin HS Chamber Choir 6RXWKZHVWHUQ0XVLFLDQ| January 2016 59

visual art, as well as band and orchestra. Current and past choir members have been named as Carson Scholars and have been recognized through the Duke University Talent Identification Program. A music educator of 21 years, Wendy Weeks is in her fifth year as Choral Director at Craig MS, having previously taught at the elementary and high school levels. Weeks is a graduate of Abilene Christian University and received her Kodály Certification through the West Texas Kodály Initiative at Texas Tech University. She currently serves as the TMEA Middle School Coordinator for the Region 16 South Zone. Texas Tech University Richard Bjella, Director For more than 50 years, the Texas Tech University Choir has enjoyed a rich legacy of outstanding conductors and has established a standard of excellence recognized through both national and international venues. In 2013 they appeared at the National ACDA Convention after appearing in 2005. In 2010 the choir made its debut solo appearance at Carnegie Hall to rave reviews, and they presented a debut

concert in Chicago’s Orchestra Hall at the Symphony Center in May 2014. A featured performing ensemble of the 2012 TMEA Clinic/Convention, the University Choir also served as the demonstration choir for Eric Whitacre in their appearance in 2008. In 2007, the Choir returned to England for the third annual St. John’s College, Cambridge/ Texas Tech Summer Choral Institute, performing Evensong services at St. Paul’s Cathedral, London, and St. John’s Chapel, Cambridge, with David Hill, principal conductor of the BBC Singers and composer Bob Chilcott. In January 2007, the Choir joined Craig Hella Johnson and Conspirare for the National Endowment of the Arts American Masterpieces Music Festival. Richard Bjella is the Director of Choral Studies and is an active choral arranger. His settings have been performed in over 25 states and in several countries around the world. West Texas A&M University Chorale Sean Pullen, Director The West Texas A&M Chorale is the premier choral ensemble within the

university’s school of music. The choir concentrates on the study and performance of formal music from a variety of styles and historical contexts. Its annual concert season includes around six concerts and a spring tour. The Chorale annually collaborates with the West Texas A&M University Symphony. Works recently performed by the combined ensembles include Mozart’s Requiem in D minor, the finale of Beethoven’s Symphony No. 9 in D minor and Verdi’s Messa da Requiem. In the spring of 2016, the Chorale and Symphony will join with the Amarillo Master Chorale to perform Brahms’ Ein deutsches Requiem. The Chorale is under the direction of Sean Pullen, who joined the faculty in 2012. Within the choral department he also conducts the Collegiate Choir and the Chamber Singers. Moreover, he is active with the school’s music education program, supervising student teachers as well as teaching undergraduate conducting and secondary choral methods.  (See page 63 for more choir images.)

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West Texas A&M University Chorale 6RXWKZHVWHUQ0XVLFLDQ| January 2016 63

Don’t Get Stranded:

Successfully Teach the TEKS Foundations: Music Literacy Creative Expression Historical and Cultural Relevance Critical Evaluation and Response by Kari Gilbertson and Carisa Niemeyer


or some people, TEKS isn’t just an acronym—it’s a fourletter word! But regardless of how you feel about them, we are all required to deliver instruction that meets 100% of the TEKS that apply to our classes. Another way to think about it is that it’s nice to know that our state leaders believe that what we teach is important enough to have required standards. Many states do not consider music education worthy of including it in the required curriculum or developing a set of standards for it. In short, TEKS are the guide for what skills and knowledge a student studying music in Texas should master as they travel through a curriculum of study in grades K–12. The music TEKS include four overall concepts—called strands. These strands encompass all of the specific educational goals and objectives which fall under those concepts—called breakouts. The four basic objective strands of the revised TEKS in effect with this 2015–2016 school year are: • Foundations: Music Literacy • Creative Expression • Historical and Cultural Relevance • Critical Evaluation and Response Foundations: Music Literacy “The foundation of music literacy is fostered through reading, writing, reproducing, and creating music, thus developing a student’s intellect.” This quote from the introduction to the TEKS can seem a little daunting. But if you take a moment to consider it further, you’ll likely realize that you are already accomplishing these things. Take, for example, the high school Level 4 breakout objective, 117.313.c.2.B: interpret musical symbols and expressive terms. This 64 6RXWKZHVWHUQ0XVLFLDQ| January 2016

broad standard can be addressed multiple times in a classroom lesson. What is the dynamic at measure 28? What is the interval between Do and La? What is the meter change at the coda? During a single rehearsal, we ask countless critical thinking and recall questions. Why not take it a step further? We play a game called “Treasure in the Measure.” Instead of giving a point of reference in the music, flip the question. Who can find an example of a minor third on page 7? Raise your hand if you can tell me where the first tempo change happens? We always find that if we add an element of competition and reward, students are more engaged and likely to participate and remember. Creative Expression “Through creative expression, students apply their music literacy and the critical-thinking skills of music to sing, play, read, write, and/or move.” The TEKS, in addition to being aligned sequentially by age/skill, are also very cyclical. Addressing one of the TEKS will often simultaneously address another in a different strand or breakout. Be sure to document this in your lesson planning for yourself and for your evaluating administrators. Looking for these multipurpose objectives is an efficient way to address more of the TEKS, instead of thinking that you have to have a different activity for each standard. For example, take the high school Level 1 TEKS breakout, 117.310.c.4.C: demonstrate rhythmic accuracy while sightreading using a counting system and appropriate tempo. You are already doing this as you practice and develop rhythmic skills in your ensemble. Counting exercises, rhythmic drills, metronome work, and more accomplish this standard. Why not take it a step further? How about using a pop music karaoke track as background music for rhythmic drills? Utilize technology, such as having students discern rhythmic patterns in Kahoot or SmartMusic. Play a game of “Two Beats Behind” in a rehearsal warm-up or closure. This

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Resources for Teaching the TEKS •






game engages students in critical thinking, reproducing elements of music, and being physically engaged in learning. To play “Two Beats Behind,” the director starts out two beats ahead of the ensemble with a rhythmic pattern. Students echo that rhythmic pattern two beats following the director. The real fun (and higherlevel learning) comes in when the leader continues the patterns, always two beats ahead of the students. The leader can start with simple clapping rhythms, but it can become more complex—and more fun! You can introduce variants such as speeding up the tempo, adding physical movements/gestures, or adding singing inter-


vals or funny noises. Add competition to the game and you’ll fully capture student interest! Allow students to create and present as the leader, and you’ve addressed another of the TEKS! Students are learning and they don’t even realize it. You are addressing multiple TEKS without having to devise multiple strategies. Historical and Cultural Relevance “By experiencing musical periods and styles, students will understand the relevance of music to history, culture, and the world, including the relationship of music to other academic disciplines and the vocational possibilities offered.” We

teach in an urban/suburban school district and relevance is one of the keys to engaging students in learning. Across all grade levels, TEKS involve incorporating a wide variety of music. The middle school TEKS call for students to perform music representative of diverse cultures. The high school Level I–IV TEKS call for students to compare and contrast, classify, or discriminate music by genre, style, culture, and historical period. Our variety in programing for performance often covers this standard. But how is performing Renaissance madrigals relevant to the life of a student in my classroom? One way to increase relevance and understanding is to ensure students learn, understand, and demonstrate the context and purpose of the music they are performing. Presentation of cultural context makes the music more real to students. Show photos of the paintings that inspired Mussorgsky’s Pictures at an Exhibition. Invite a Holocaust survivor to come and speak to your treble choir when they sing “When I Am Silent.” Or better yet, allow students to choose a selection that you are rehearsing. (Educational Strategy Alert! That’s Differentiated Instruction based on

student interest.) Have students in Project Based Learning groupings develop a Prezi about the composer, historical context, and culture, and have them share their presentations with the class. We will never forget the meaningful discussion and powerful emotional experience of singing “America the Beautiful” on September 11, 2001. The discussion of music and its patriotic role is now an annual discussion in our classroom. We should all be facilitating respectful discussions to increase musical, stylistic, and cultural awareness at every grade level. As music educators, we know that the arts can facilitate meaningful discussion and historical relevance/context better than almost any other disciplines. Critical Evaluation and Response “Through critical listening, students analyze, evaluate, and respond to music, developing criteria for making critical judgments and informed choices.” Directors employ many ways of evaluating the success of an ensemble as a whole. “Sopranos, you’re flat.” Or, “Violas, you’re rushing.” But how well do we know how the individuals in our ensemble are


developing? Within this strand, there is a TEKS at each high school level that begins: “develop processes for self-evaluation.” This is aimed at helping students improve self-reflection and develop skills for constructive evaluation. One of the best ways to facilitate selfevaluation is to have students develop a rubric for self-evaluation. Through inclass discussion, or small-group work, students and directors can agree on the criteria for each level of proficiency in a performance. You could certainly give your students a completed rubric, but the saying “People take interest in that which they have created” will resonate significantly here. It is important for students to have ownership in their progress. Authentic and individual evaluation doesn’t have to take up rehearsal time. Use technology to facilitate those progress checks. Students can record themselves on their phones and upload those files to you via Soundcloud or Dropbox. Software and online resources like Charms and SmartMusic offer teachers easy ways to keep track of individual progress without taking time from the group or sectional rehearsals. When students develop critical

listening skills that they can apply to themselves and others, this will only better your ensemble and classroom. We often get caught up in the what of our daily teaching instead of in the why. What is the skill that will transfer to every other aspect of a student’s life as a musician? Strong teaching strategies are born from necessity. Good rehearsal planning should be born from the final objective or outcome that we are looking for in our students and ensembles. To paraphrase the quotation about great teaching—great teachers are great thieves of great ideas! The TEKS give you the expectation of the content and skills to teach. Your job—your calling as one who practices the art of teaching—is to find ways to deliver the content such that it becomes engaging and meaningful. Perhaps it is time to look for new and engaging ways to build lifelong learners and musicians.  .DUL*LOEHUWVRQLVWKHKHDGFKRLUGLUHFWRU DW /DNH +LJKODQGV +6 5LFKDUGVRQ ,6'  &DULVD1LHPH\HULVWKHKHDGFKRLUGLUHF WRU DW )RUHVW 0HDGRZ -+ 5LFKDUGVRQ ,6' 

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January 20—Deadline to cancel a convention hotel reservation without penalty. January 21—Early registration deadline (fees increase after this date). January 21—TI:ME Technology February 10 Preconference preregistration deadline. February 10–13—TMEA Clinic/Convention in San Antonio. February 11, 5:15 p.m.—Elementary Division Business Meeting at the convention.

ost of you are likely an endangered species in your elementary school, the only one of your kind—the music specialist. With no one available on a daily basis to collaborate with, and no one who completely understands the amount of work it takes to deliver education that teaches all the TEKS and to create successful performances, it is easy to become frustrated and overwhelmed. Many online resources are at your fingertips that can relieve your anxiety and inspire you to become the great teacher you are meant to be. This month, I’m offering information about online forums for elementary music teachers that are available on Facebook. By visiting these groups, you can post questions, collaborate, and read the past posts of others for inspiration. In addition to the main TMEA page (, some of the TMEA Elementary Region Chairs have started pages for their Regions, including 1, 17, 23, and 27. There is also a page for the TMEA-sponsored MATCH (Music and Technology Conference of Houston). If you are a Kodály educator, check out the Facebook pages of Kodály Educators of Texas (KET), monitored by Lauren Bain; the Organization of American Kodály Educators (OAKE); Houlahan and Tacka and Kodály Studies; Lindsay’s Kodály Inspired Classroom; and Kodály Educators. For Orff-Schulwerk teachers, there are Facebook pages for all of the Texas Orff Chapters, including Texas Gulf Coast Orff Association, North Texas Orff Chapter, Rio Grande Valley Orff Chapter, Capital Area Orff, Heart of Texas Orff, and Central Texas Orff. The National Organization has a page as well. Also, review the Teaching with Orff, Orff Schulwerk, and Carl Orff pages.


Other popular pages you might enjoy include Musicplay Teachers, Quaver’s Marvelous World of Music, Music Teachers Buy/Sell/Trade, Elementary Music Educator’s Idea Bank, Elementary Music Teachers Anonymous, Elementary Music Teachers, Elementary Music Programs, Kristin Lukow–Elementary Music Education, Make Moments Matter, GIML: The Gordon Institute for Music Learning, and Dalcroze Society of America. By utilizing these Facebook resources, elementary music teachers do not have to feel isolated. Friends are as close as your nearest device! TMEA Clinic/Convention Update I hope you’ve taken time to peruse the schedule preview in last month’s issue. On January 1, the online convention schedule is also available. Be sure to build a schedule—remember that this is the first step that’s required to create your CPE record following the event. If you plan to use the convention mobile guide app, be sure to complete your TMEA online schedule by January 27 and register to have that schedule transferred to your mobile guide account. Elementary Division Event Locations In the December issue, you learned more about the convention center’s major expansion. Most of our division’s events will be in the same locations as before. Note that what was called “Ballroom C1–C3” is now “Hemisfair Ballroom 1–3.” The space is the same; it’s simply a name change. The TI:ME music technology clinics will now be closer to our Elementary Division events (CC 209– 213). To see where everything is located, go to

UISD Honors Choir members from third through fifth grades may audition. With the program only in its third year, they are thrilled to have received an invitation to perform at the state level. This is the first time a public elementary choir from Laredo will perform at the state level. The success of this group is possible because of the dedication of UISD Elementary Music Teachers, V.U. choir parents, and the 2014–2015 Voces Unidas choir members. Eleonor Coronado received her BA in music education from UT/Arlington and has been teaching for 15 years with UISD, most recently at Clark ES. Jessica Cardenas received her BA in music education from Texas A&M International University in Laredo and has taught for five years at UISD, currently teaching at Arndt ES. Rogelio Montemayor has taught for 17 years at UISD and is currently a music teacher at Juarez-Lincoln ES. He received his BA in music education from Texas A&M University/Kingsville. Fort Bend ISD Elementary Honor Choir Kirsten Jordon, Director The Fort Bend ISD seeks to provide all students with a high-quality fine arts education that supports their academic, social, emotional, and creative development. This goal is achieved through a comprehensive performing and visualarts curriculum, which provides a wide range of learning experiences and performance opportunities. The Fort Bend ISD Elementary Honor Choir, now in its seventh year, consists of fifth-grade students from all 46 elementary campuses. Three students, chosen

through audition, represent each campus, and all 138 students rehearse together in a weekly rehearsal for their Festival in February. Directing and coordinating the choir for the second year is Kirsten Jordon, who has taught elementary in Fort Bend ISD for seven years, with a total of 14 years of experience teaching music. She holds a BA in vocal performance and music education from Virginia Tech. Accompanying the choir are Linda Koistinen, Sugar Mill ES and Cathy Patton, Commonwealth ES. Schultz Shockwaves Carolyn Mena, Ashlie Driver, and Juli Teltschik, Directors Schultz Elementary in Klein ISD has always been a school that encourages students to achieve academic excellence and display positive character traits. It also has had a great tradition of musical opportunities inside and outside of the general music classroom. At Schultz, extracurricular music activities include the Shockwaves percussion ensemble, the Showstoppers choir, and a fifth-grade strings program. The Schultz Shockwaves is a fourthand fifth-grade auditioned percussion group that performs in the school and the community. The group formed by the merging of two percussion groups, Carolyn Mena’s Shining Star Drum Ensemble and the Schultz Shining Star Orffestra, led by Jane Lamb. The current directors began the Shockwaves in the fall of 2013 and have enjoyed continuing the tradition of providing a challenging and varied musical repertoire. Carolyn Mena has taught music at Schultz ES for 10 years, 13 years total in the Klein ISD.

Performing Groups I’m excited to offer information about half of our performing groups. Our other groups were featured in the November issue. Be sure to put the performances of these groups on your convention schedule! 9RFHV8QLGDV Eleonor Coronado, Jessica Cardenas, and Rogelio Montemayor, Directors The United ISD Elementary Voces Unidas choir from Laredo was created to be a competitive choir that showcases the vocal talents of UISD elementary school students. Only the top current-year 72 6RXWKZHVWHUQ0XVLFLDQ| January 2016


Blinn College Scholarship awards are available!

Degree programs in instrumental and vocal music are available on the Brenham Campus. Auditions are available on Saturday:

December 19, 2015 January 23, 2016 March 5, 2016 April 16, 2016 May 14, 2016 or by scheduling an individual appointment

To schedule an appointment: Instrumental: Jill Stewart ( Vocal: Dr. Paulo Gomes ( String Private Lessons, Choir, and Voice Lessons are available on the Bryan Campus. Auditions are scheduled by appointment only by contacting Todd Quinlan ( Any general questions may be directed to Todd Quinlan, Performing Arts Department Head 979-830-4288.

Our outstanding music faculty members are waiting for you! Blinn College Music Faculty Dr. Marcelo Bussiki ....Division Academic Dean Todd Quinlan...............Performing Arts Department Head Jill Stewart ....................Instrumental Music Coordinator Brenham Campus (Instrumental) Dr. Sarah Burke ...........Director of Bands/ Percussion Kerry Bird ....................Woodwinds/General Music John Dujka .....................Piano/Music Theory Dr. Craig Garrett ........Jazz Studies/Trumpet Brian Klekar.................Jazz Studies/Saxophone

Jeffrey Hill.....................Double Bass Dr. Jeremy Marks ........Trombone Marie McElroy .............Flute Robert McElroy ..........Special Assistant/ Recruiting Dr. Eric Miller .................Double Reed Kendall Prinz ..............Assistant Band Director/ Low Brass Jill Stewart ....................Clarinet Felipe Vera ....................French Horn Steven Winter .............French Horn/Trumpet Brenham Campus (Vocal) Dr. Paulo Gomes ........Choir Director Dan Bircher .................Director of Vocal Studies

Lauren Shelton ............Voice Cheryl Amelang ..........Accompanist Pat Daugherty .............Accompanist Leah Jorgensen............Accompanist Dr. Linda Patterson ....Accompanist Cindy Schulz ................Accompanist Bryan Campus Chris Hoffman ............Director of Vocal Studies Nannette Pope............Accompanist Nicole Cherry.............Violin Diedra Lawrence ........Viola Prudence McDaniel....Cello Dr. Alan Strong...........General Music

For more information call 979-830-4262 or 830-4288 or visit our website at:


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She graduated from Baylor University, summa cum laude. Ashlie Driver is in her 11th year of teaching, three of which have been at Schultz ES. She graduated from UT/ Austin with honors and holds a masterâ&#x20AC;&#x2122;s

degree from the Mooreâ&#x20AC;&#x2122;s School of Music at the University of Houston. Juli Teltschik is in her first year of teaching at Schultz. She graduated with honors from Sam Houston State University with a degree in piano performance.

Rhythm Cats Ben Torres, Director Brentfield ES is an Exemplary Blue Ribbon Campus in Richardson ISD and serves over 650 students in grades Kâ&#x20AC;&#x201C;6. The schoolâ&#x20AC;&#x2122;s mission is to prepare independent learners who will become productive citizens and leaders of tomorrow. In 2014, the Brentfield Singers performed at the TMEA Clinic/Convention as an Invited Elementary Choir. The Rhythm Cats is an afterschool, auditioned instrumental ensemble consisting of fifth and sixth graders and was created in the 2012â&#x20AC;&#x201C;2013 school year. The ensemble explores elemental music and movement and meets for one-hour weekly rehearsals after school (another afterschool rehearsal was added in preparation for the TMEA convention). The Rhythm Cats is excited and honored to be invited to perform at the 2016 TMEA Clinic/Convention. Ben Torres is in his fourth year as the Kâ&#x20AC;&#x201C;6 music specialist at Brentfield Elementary. He is in his 12th year in RISD and is a graduate of West Texas A&M University in Canyon. 

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College Division

Fall Conference

October 9 Southwestern Musician | January 2016 79





The more we get together, the happier we’ll be


he College Fall Conference is an important annual event for our division. As college faculty, we are largely responsible only for our own programs and studios—we don’t host TMEA events such as auditions, workshops, or concerts that bring us in contact with one another throughout the year. Through simple lack of effort or awareness, we can miss out on one of the most valuable aspects of TMEA membership—connection with our colleagues. For us to receive the greatest benefit from our collective wisdom, we need to create opportunities for us to be together in the same room for an extended length of time. This is the value of the Fall Conference. On October 9, 2015, approximately 40 college faculty members from across the state and TMEA staff participated in the Fall Conference at the TMEA offices in Austin. Information about the deadlines for the Research Poster Session, TMEA scholarships, and the TMEA Essay and Composition contests were disseminated. TMEA Deputy Director Frank Coachman shared a preview of the expanded convention facilities in San Antonio, including performance venues, clinic spaces, and the larger exhibit hall. An overview of the College Division schedule was provided, including our featured clinicians, the Research Poster Session, and the College Division Business Meeting—during which an election for the next College Division Vice-President will be held. Details were provided for the revamped College Fair. All colleges and universities—in-state or out-of-state—have the option of exhibiting in a designated College Fair area of the exhibit hall for the duration of the convention. The College Night event of past years has been expanded so that all participating institutions will be present Friday, 2:30–8:00 P.M. When the

The intent of publishing this report is to help our division continue to move forward in these areas, and to include those who were not able to attend this year’s conference. 80 Southwestern Musician | January 2016

January 20—Deadline to cancel a convention hotel reservation without penalty. January 21—Early registration deadline (fees increase after this date). January 21—TI:ME Technology February 10 Preconference preregistration deadline. February 10–13—TMEA Clinic/Convention in San Antonio. February 11, 5:15 p.m.—College Division Business Meeting at the convention.

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Chuck Daellenbach (tuba), Caleb Hudson & Christopher Coletti (trumpets), A c h i l l e s L i a r m a k o p o u l o s ( t r o m b o n e) a n d B e r n h a r d S c u l l y ( h o r n) .

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other exhibits close at 5 P.M. and that area is closed, access to the College Fair will continue through a specially designated entrance. One of the most exciting developments in the College Division over the past year has been the indexing and discoverability of Texas Music Education Research (TMER), our online research journal. TMER has now been assigned an International Standard Serial Number, and applications for indexing through EBSCO with Music Index and through ERIC (Educational Research Information Center) search engines have been submitted. We are currently in the process of uploading files to EBSCO and are waiting for review from ERIC, which reviews materials twice annually. TMER has been dual-formatted for greater accessibility, with both a search feature and entire issues available for perusal. Links have also been added under the Division menu and the Resources menu. Visit to explore these new features. TMEA President Keith Dye shared the Music Is Essential videos designed to advocate for elementary music in the schools, as well as for the value of elementary music teachers attending the annual TMEA Clinic/Convention. You can view the videos at (advocacy) and (convention attendance). Without question, the most significant part of the day came through the in-depth work accomplished in two breakout sessions. During the morning session, breakout groups addressed Field Supervision, Mentor Teacher Training, TExES Preparation, and TwoYear Colleges. The afternoon breakout sessions included groups working on Community Engagement, Development of a Collegiate Award Program, Inclusion in Music Education, and Research. What follows are notes from each of the morning breakout sessions. I will highlight the outcomes of the afternoon breakout sessions in the February issue. The intent of publishing this report is to help our division continue to move forward in these areas, and to include those who were not able to attend this year’s conference. If you have particular interest in the work on a given topic, do not hesitate to contact me at Michele_Henry@, or contact the breakout leader for that topic.

Field Supervision—Julie Kastner, University of Houston, Leader Since the Texas Administrative Code’s 2014 redefinition to require current certification for all Field Supervisors [TAC Chapter 228.2 (10)], the College Division of TMEA has worked to propose alternative language. The Texas Education Agency has acknowledged the likelihood of revision to current policy. Therefore, they have stated that they will not be evaluating Educator Preparation Programs on this facet until some resolution has been reached. In the interim, affected TMEA

members are encouraged to check with their institution’s Educator Preparation Program as to how they are currently addressing this issue, noting that some members of the breakout group had been cleared by their institution to observe, while other institutions had denied clearance. TAC Chapter 228.35 identifies revised requirements for conducting and documenting field observations (minimum 45-minute observations, face-to-face onsite observations and post-observation conferences, minimum three observations

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per semester with the first observation completed within the first six weeks, providing written documentation to all parties). The breakout group discussed the challenges of these requirements—particularly the need to collect signatures on site during observations—and solicited solutions from among the group members. Suggestions included using electronic means of documentation with touchscreen signature collection, or requesting read receipts on email correspondence. Breakout group members also identified the challenge of finding qualified

Field Supervisors. Based on the redefinition and the revised requirements, potential Field Supervisors are uninterested in the increased amount of paperwork or required training at some institutions. The group would like to find ways to better recruit and retain qualified field supervisors, particularly among newlyretired music teachers across the state. Mentor Teacher Training—Michael Alexander, Baylor University, Leader TAC Chapter 228.35 (e) mandates that Educator Preparation Programs pro-

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APPLICATION AND SCHOLARSHIP AUDITION DAYS The OLLU Music Department will hold application and scholarship audition days on Feb. 6, 2016 and May 7, 2016. To apply for an audition: 1. Apply to Our Lady of the Lake University at Apply 2. Request a Music Program Application packet from Dr. Elizabeth Dyer, Music Department Head 3. Prepare your audition according to the provided guideline 4. Contact Dr. Dyer (email preferred to request an audition time)

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vide “mentor and/or cooperating teacher training that relies on scientifically-based research, but the program may allow the training to be provided by a school district, if properly documented.” Among the breakout group members, none of the represented EPPs had music-specific training programs on their campus for mentor/ cooperating teachers. Some acknowledged that their schools/departments of education may be providing more generic training. Every program represented provides some type of document or handbook to their mentor teachers. Most programs do not require any type of compliance agreement from their mentor teachers. Those that do range from having mentor teachers sign a form and return it, to an online signature of receipt, to answering questions on a short quiz. Recommendations from the breakout group included (1) compiling a list of scientifically-based resources that could be hosted within the TMEA College Division area of the TMEA website to be used as needed by programs across the state, and (2) obtaining a signed compliance agreement from mentor/cooperating teachers to be kept on file in the various EPPs. TMEA could also offer a scientifically-based session during the convention that could be recorded and hosted on the website for future use by our members. It should be noted that mentor/cooperating teachers need only to complete training once, not on an ongoing basis. TExES Preparation—Si Millican, UT/San Antonio, Leader There is an 86% pass rate on the TExES for candidates enrolled in a universitybased teacher certification program statewide. TMEA assists our collegiate members by providing test preparation sessions during our annual convention. The 2016 program will feature two sessions. In addition, the TMEA website has review information and a practice test available as a study aid ( Among the institutions represented in the breakout group, local test preparation takes place curricularly, through coordination with theory and history faculty to format their test content to match the TExES; through an analysis of the curricula to determine which competencies/ standards are and are not being addressed; through required or voluntary review sessions prior to test administration; and

through administering their own evaluation through internal processes such as sophomore barriers (interviews, performance, proficiency exams). Some programs require a practice test or review prior to actual testing, including debriefings to address proficiencies.

Some programs require successful test completion prior to student teaching. As of this fall, teacher candidates have a limited number of attempts to pass certification exams (5 per exam). In the past, candidates could take the tests an unlimited number of times. TEA has suggested

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that a revised music content exam, incorporating the revised TEKS, is likely for 2018–2019. Recommendations from this group include updating the information and practice questions on the website, establishing a rotation of TMEA review sessions on specific topics, recording the review sessions and offering them as podcasts, and identifying a pool of presenters who could offer review sessions. The group also wanted to remind the membership that students with a documented special need can request accommodations during testing, and to encourage the membership to take advantage of the region grant program to develop sessions for local/regional test review. Two-Year Colleges—Kathy Mayer, Northeast Lakeview College, Leader This group discussed topics of mutual concern, including funding for community colleges, TX 60×30, the new strategic plan for Texas and its implications, Field of Study Advisory Committee, Guided Pathways, and ways to partner vertically with schools in the area.

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Two-year college music faculty are concerned about performance-based funding (momentum points), budget cuts, limiting enrollments, and waiting lists. They identified potential funding sources including an increase in tuition or property taxes, grant funding, private donors or sponsors, and exploring more cost-effective alternatives to traditional instruction methods. By 2030, TX 60×30 aspires to have 60+% of Texans ages 25–34 possess a postsecondary credential or degree, to have at least 550,000 students complete a certificate, associate’s degree, bachelor’s

degree, or master’s degree from an institution of higher learning (public or private) annually, for all graduates of public institutions of education to have completed a program with identified marketable skills, and to have undergraduate student loan debt not to exceed 60% of first-year wages for graduates of public institutions. The implications for community colleges include a potential increase in dualcredit courses for high school students, a larger focus on the completion of a certificate or associate degree and less on majors or concentrations, and the need to iden-

tify soft skills in defined student-learning outcomes of core courses to tie in with the vision of identified marketable skills. Three members of the breakout group are also members of the Field of Study in Music Advisory Committee for the Texas Higher Education Coordinating Board. The committee, consisting of music faculty and administration from across the state and both the community college and university level, has been charged with reexamining the current Field of Study and recommending possible changes or clarifications. The committee members are Cynthia Bridges, Keith Dye, and Kathy Mayer. Please be in contact with any of them if you have questions or suggestions. Guided Pathways is an attempt by some college faculty to align curricula with HB 5 endorsement and university transfer requirements in order to provide a smoother transition from high school to community college to university study. Finding meaningful ways to engage community college students committed to teaching is a priority for the breakout group. Suggestions included giving service hours or minimal compensation for those engaging in music teaching or community service. In addition, creating opportunities for community college music programs to partner with area high schools through house concerts, fine arts showcases, and other events designed for the entire community was discussed. Next month’s article will include information from the afternoon breakout sessions. Please make an effort to digest this information prior to attending the 2016 TMEA Clinic/Convention, where we will entertain comments and suggestions and set an agenda going forward for many of these issues. Clinic/Convention Update We can look forward to an exciting time experiencing the expanded convention center at this year’s convention! College Division members can anticipate attending clinics in brand-new meeting rooms on the third floor (CC 301–303), directly above the new main lobby. If you haven’t already, be sure to look at the new floor plans at to get a better idea of where you’ll find the events you read about in the December convention preview issue. As of January 1, the online personal schedule is also available at 

88 Southwestern Musician | January 2016

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