May 2012 | Southwestern Musician

MAY 2012

May 2 012 Volu me 8 0, No. 9

features 15

33

MusicMatters Three music educators share their experience in working with a successful booster club and its leaders.

34

With careful foresight and a focus on time management, an effective rehearsal plan can actually result in greater freedom and spontaneity.

by andy rein,

keith markuson, and shannon carter

26

How Can We Help?

Learn about the various ways in which a booster club can support your music program and a quality music education for your students. by scott mccormick

updates

Getting the Most out of Your Minutes

by gary seighman

44

TMEA Distinguished Administrator Spotlight Learn about six Texas school administrators and their extraordinary support of music education.

47

Summit XIII CEDFA hosts the final summit in a four-year cycle on assessment in the arts. by thom as h. waggoner

Attend Your Spring Region Meeting.............................................................................................4 It’s at www.tmea.org: Job Services............................................................................................. 24

34 columns President’s Notes.................................................... 6

by John Gillian Executive Director’s Notes...................... 11

by Robert Floyd Band Notes.................................................................. 20

by Ronnie Rios

Summer Dialogue III: TMEA’s Role in Times of Change..........................................................33 Remember to Renew Your Membership.....................................................................................43 On the cover: Stephen Phillips, senior at Arlington HS, performs with the 2012 TMEA All-State Symphony Orchestra. Photo by Karen Kneten.

Be a TMEA Clinician!

JUNE 1: ONLINE CLINIC PROPOSAL DEADLINE Many of our successful clinics are offered by TMEA members like you.

Submit a proposal now to share your expertise next February!

Orchestra Notes.................................................... 30

by Lisa McCutchan Vocal Notes..................................................................38

by Janwin Overstreet-Goode Elementary Notes............................................... 51

by Michele Hobizal College Notes............................................................56

by Keith Dye

www.tmea.org/clinicproposals Southwestern Musician | May 2012

3

Editor-in-Chief: Robert Floyd

Attend Your Spring Region Meeting

rfloyd@tmea.org 512-452-0710, ext. 101 Fax: 512-451-9213

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

TMEA Executive Board

Get involved and stay informed by attending your Region meetings.

Time

Location

President: John Gillian

Region Date 1

May 12

Amarillo HS Cafeteria

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

10 a.m. meeting, 9:30 a.m. food

2

May 19

10 a.m.

Decatur HS

President-Elect: Joe Weir

3

May 19

10 a.m.

Sachse HS

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

4

May 11

5 p.m.

Mt. Pleasant HS

5

April 24

5:30 p.m.

Lamar HS, Arlington

Past-President: Ross Boothman

6

April 28

10 a.m.

Permian HS

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

7

April 28

1 p.m.

Stephenville HS

8

May 5

10 a.m. meeting, 9:30 a.m. food

Midway HS

9

April 28

9 a.m.

Klein Oak HS

10

May 7

6:30 p.m.

Lamar Univ.

11

May 12

1 p.m.

Holmes HS

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

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

12

May 6

2:30 p.m.

Churchill HS

13

May 20

2 p.m.

Lamar HS, CISD

14

May 12

10 a.m. meeting, 9:30 a.m. food

Del Mar College

15

May 20

2 p.m.

UT Pan American Fine Arts Aud

sallyhobizal@katyisd.org 11003 Bergamo Drive, Richmond, 77406 281-234-0050/Fax: 281-644-1690 – WoodCreek Elementary

16

May 7

5 p.m.

Post HS

17

May 19

9:30 a.m.

Clear Springs HS

College Vice-President: Keith Dye

18

April 28

10 a.m. meeting, 9:30 a.m. food

Anderson HS PAC

19

May 5

10 a.m.

San Jacinto College, North Campus

20

April 28

9 a.m.

Greiner MS, Dallas

21

May 5

10 a.m.

Bullard HS

22

May 19

12:30 p.m.

UTEP

23

May 12

9 a.m. meeting, 8:30 a.m. food

Reagan HS, Houston ISD

24

May 19

10 a.m.

Newman Smith HS

25

May 19

10 a.m.

Plano West Sr. HS

26

April 21

10 a.m.

Rouse HS, Leander ISD

27

May 19

9 a.m. meeting, 8:30 a.m. food

Cypress Springs HS

28

May 19

10 a.m. meeting, 9:30 a.m. food

Harlingen HS Band Hall

Vocal Vice-President: Janwin Overstreet-Goode joverstreet-goode@fisdk12.net 1406 Frontier Lane, Friendswood, 77546 281-482-3413 x 150/Fax: 281-996-2523 – Friendswood HS

Elementary Vice-President: Michele Hobizal

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

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

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

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.

Subscription rates: One Year – $18; Two Years – $28; Three Years – $38. Foreign rates are the same plus the prevalent postage for the years. Single copies $2.00.

Periodical postage paid at Austin, TX, and additional mailing offices. POSTMASTER: Send address changes to Southwestern Musician, P.O. Box 140465, 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 1941–47 by Dr. Stella Owsley. Incorporated in 1948 as National by Harlan-Bell Publishers, Inc. Published 1947–54 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 Educators Association, whose official publication it has been since 1938. In 1954, the two magazines were merged using the name Southwestern Musician combined with the Texas Music Educator under the 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.

4

Southwestern Musician | May 2012

2012 SUMMER MUSIC CAMPS AT TEXAS A&M UNIVERSITY-COMMERCE

Leadership, Drum Major, & Color Guard Camp Featuring Frank Troyka, Director of Bands, Berkner High School. & Gary Williams, Director of Bands, Cockrill Middle School.

New for 2012–Director’s Track Available!

Sunday, June 17th-Thursday, June 21st Texas Summer Flute Symposium Jocelyn Goranson, Flute Professor at Texas A & M University-Commerce.

Featuring Tadeu Coelho, Terry Sundberg, Lisa Garner Santa, Jan Gippo, Katherine Kemler, & Dianne Frazer.

Sunday, June 24th-Friday, June 29th Blast of Brass Camp Thomas Hooten, Principal Trumpet of the Los Angeles Philharmonic & John Kitzman, Principal Trombonist of the Dallas Symphony Orchestra.

Sunday, June 8th-Saturday, June 14th

High School All-State Choir Camp Featuring Head Clinician, Dr. Randall Hooper, Director of Vocal Activities, Texas A&M University-Commerce.

Ryan Forkner, North Mesquite High School.

Natalie Waters, Highland Park High School.

Josh McGuire, Sachse High School.

Jeff Goolsby, Berkner High School

Sunday, July 15th-Thursday, July 19th

REGISTER TODAY AT www.tamu-commerce.edu/music

A MEMBER OF THE TEXAS A&M UNIVERSITY SYSTEM

by John Gillian

President’sNotes

Important? Yes. Easy? No.

ust prior to writing this article, I had a trying encounter with one of our elementary school students. At the end of the school day, I help with the dismissal of students from the school cafeteria. For the second day in a row, one particular student was being quite disruptive, so I decided to send him to the office where he could be dismissed without being disruptive to a large number of other students.

Instead of walking to the office, the boy bolted out the front doors and ran to his mother’s vehicle. I followed him, and upon describing the incident to his mother, rather than being critical of her son’s behavior, she actually became irate with me. She refused to send her son back into the school building, nor did she address the inappropriate behavior of her other, younger son who was in the car.

She simply rolled up her windows.

J

It is a sad reality that we often work with students who have parents like the one I dealt with that day. We are unlikely to change parents’ behaviors, but while students are with us during the school day, we can hold them to a high standard of proper social behavior and performance.

Even though I do not currently teach this troubled boy, I believe that I can somehow help shape him into a better person.

In the limited time elementary music teachers have to teach their students, we have the opportunity to bring artistic beauty and fun musical experiences to students who experience few opportunities for this kind of joy in their home lives.

We have an opportunity and an obligation to provide structured and safe musical learning experiences to all our students, and through these experiences we can provide hope for a better life.

Regardless of the teaching level, we all

They don’t care how much you know until they know how much you care. —Anonymous 6

Southwestern Musician | May 2012

We are SUMMER CAMPS Middle and High School Flute Camp June 11-15

In the photo: Senior music education major Johanna Reynolds assists a student during last year’s Middle School Band Camp.

To find out more about our summer camping opportunities, visit http:music.utsa.edu/camps.

Tuition: $190; Housing $230 $40 discount for returning campers kristin.hayes@utsa.edu 931.260.3924

Middle School Band Camp June 18-22 Tuition: $295 cynthia.solis@utsa.edu 210.458.5685

All-State Choir Camp June 24-27

Bachelors Degrees Composition Music Education Music Marketing Performance

Tuition: $295 by June 4 $70 discount for All-State members choircamp@utsa.edu 210.724.7721

Bachelor of Arts

Summer Music Institute for Piano & Strings July 23-27

Masters Degrees Conducting Music Education Performance Piano Pedagogy & Performance Vocal Pedagogy & Performance

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struggle with difficult students and difficult situations. What makes our profession rewarding is seeing positive changes in the lives of our students and in teaching students who grow into great musicians during their time in our programs.

As students move beyond the elementary level, most Texas students experience a period of time in a band, choir, or orchestra program. Secondary music teachers, having more instructional time with students than elementary music teachers, can and often do have an amazing impact on the lives of the students they teach.

I am fortunate to have amazing mentors and role models in my community on whom I frequently rely. One of those people is former high school band director Mr. Charles Nail, a TMEA PastPresident with an amazing history as a music educator. At a TMEA Region meeting some time back, Mr. Nail, speaking as UIL Executive Secretary for my Region, reminded the band directors to allow their students many opportunities to drink plenty of water and have some breaks from the intense summer heat during August marching band practice.

He ended by reminding the directors to take good care of the students but not to be easy on them. I believe his point was that we need to expect more of our students than they expect of themselves.

TMEA members are passionate, compassionate, and very demanding educators who in their work create lifelong bonds with their students. When your students understand how much you care for and about them, they will follow you wherever you decide to lead them. It is my hope that you will lead them to the highest musical mountaintops possible.

Audition Audit and Review The TMEA Executive Board has a plan in place to audit and review state audition procedures at each level of the process, as well as the structure and makeup of the All-State Bands, Orchestras, and Choirs.

The priority will be to assess the entire process as to how it best serves students, members, and programs throughout the state in all performance divisions.

Requests to add additional All-State ensembles contributed to the Board’s decision to take this opportunity to look at the overall structure of the process.

A committee is being assembled that includes, to the extent possible, a widespread representation of members from all performance divisions, varied school classifications, and geographic areas of the state. Information regarding this audit and review will be communicated in future editions of the magazine.

Summer Dialogue III: TMEA’s Role in Times of Change Thanks go to those members who have already applied to participate in Summer Dialogue III. In this conference entitled “TMEA’s Role in Times of Change,” a representative group of TMEA members will evaluate the current music education climate and discuss how TMEA can best continue to serve its members moving forward. This conference is scheduled for July 8–10 at the Austin Airport Hilton. If you are interested in participating, go to www.tmea.org/SD3 for more details and to apply by May 11.

8

Southwestern Musician | May 2012

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he success of our new Distinguished Administrator Award Program has far exceeded our expectations in terms of acceptance and success. To date, TMEA has awarded 95 administrators with this distinction. In addition to sending the administrator a congratulatory letter, we have provided the nominating member a certificate to present to their administrator at a concert, school board meeting, or other appropriate public venue. After you read about a few of the worthy recipients in this magazine, I encourage you to go online to read previous installments of the Distinguished Administrator Spotlight that include stories of other deserving, supporting administrators as seen through the eyes of our members. The stories will warm your heart.

At a time when it would be easy to blame our superintendent, principal, or board of education for not fully supporting our programs, we need to be mindful of the intense pressure they are under from state financial cuts and the new high-stakes accountability STAAR system. It is refreshing, then, as well as

T

important, that we recognize administrators who are making the right decisions for students by supporting programs in their district or on their campus.

What you won’t find on the website or in this magazine are copies of responses from administrators who have received the award. One superintendent from a small West Texas community, after praising his music staff in an email to me, said the following: “I consider this honor as one of the most precious throughout my educational career. I am humbled beyond imagination.” Another superintendent wrote, “This is a high honor of which I am humbly proud. . . . Thank you for the work that your association does to promote excellence in music education.”

Finally, one of the most highly respected superintendents in the state who has won every honor bestowed on Texas superintendents told me, “I believe this is the nicest honor I have ever received.”

I encourage you to go online and tell your story about an administrator who has gone beyond the call of duty to support your program. Be specific and sincere about why they are worthy of recognition. There is still time for you to

by Robert Floyd

Executive Director’sNotes

It’s not too late

It is refreshing, as well as important, that we recognize administrators who are making the right decisions for students by supporting programs in their district or on their campus.

Southwestern Musician | May 2012 11

submit, for us to notify them by letter of their acceptance, and for you to schedule a presentation during an end-of-year event.

The beauty of this program is that it does not recognize just one person but many throughout the state who are deserving.

To ensure you receive your certificate in a timely manner, please submit by May 9 at www.tmea.org/adminaward.

In addition to recognizing select recipients in the magazine, we plan to distribute a report that includes all recipient names and districts along with your narrative to each of the professional administrator

associations in Austin.

Primaries Coming I know you are aware the dust has finally settled from the redistricting lawsuits, and the election primaries are coming May 29. May, then, is going to be a month packed with candidates attempting to get both your attention and your vote. It is an ideal time for each of us to be proactive in seeking responses from the candidates relative to arts education. I encourage you to attend a coffee or a candidate forum where you have the opportunity

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fmhouston.com 12 Southwestern Musician | May 2012

to have dialogue with those running for office. Questions to ask could include the following: Do you believe fine arts instruction helps improve student performance in other academic courses?

Do you believe fine arts study helps prepare students for college?

Do you believe fine arts participation reduces dropout rate?

Do you believe creativity is fostered through a fine arts education?

Do you believe fine arts should be a part of the core curriculum?

Do you believe public education is underfunded at the state level?

The above are six of the questions we will ask candidates that survive the primary prior to the November elections in a comprehensive survey distributed by the Texas Coalition for Quality Arts Education. Putting these questions on their radar now will only heighten their awareness of the fine arts community as a voting constituency. In 2010, the responses to the first five questions above were at least 85% positive, but we must educate a new legislature in which over half of the 150 members of the House of Representatives will have served only one session or no sessions. Five to six Senators will be new. We must view the challenge before us as an opportunity, not an insurmountable task.

TEKS Review Update In the January issue of SOUTHWESTERN MUSICIAN I reported that the review of the Fine Arts TEKS would begin in April. That beginning date has now been postponed until May to give the TEA Curriculum Department time to negotiate hotel contracts and plan for the process. With the 40% cuts in TEA staffing last summer and with no Director of Fine Arts in the Curriculum Department, much of the responsibility of organization falls on other staff members who have numerous other job responsibilities.

The good news is that the State Board of Education is fully committed to moving forward with the review process and, in addition, including fine art materials in the Proclamation 2015 adoption, as originally planned.

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BOOSTER CLUB SUPP ORT

A

s budgets continue to shrink and responsibilities continue to grow, music educators across the state will be looking for creative ways to continue to offer high quality music education experiences to all. For many, this is the time when an active and effective booster club organization becomes even more critical to the continued success of a music program. Booster clubs can be invaluable support systems, and with that, it is imperative for directors to establish positive working relationships with booster leadership. In this last installment of the MusicMatters series, we asked three music educators to offer their perspectives on how to work effectively with booster leaders to help ensure the club is supportive of the director’s program goals. For a sample of booster club bylaws go to www.tmea.org/smlink/booster. To view previous installments of this series, go to www.tmea.org/magazine to view the interactive versions of the issues in this current magazine volume.

Explain how your booster club is organized.

Andy Rein, Newman Smith HS Band Director, CarrolltonFarmers Branch ISD: The Newman Smith Area Band Club is structured similarly to any other booster organization. We have a board that is governed by an elected president. He or she is joined by all of the officers ranging from vice-president to entertainment director. These positions are voted on by the parents and are usually held for one year. Our boosters organize several fundraisers throughout the year, but our primary source for revenue is the concession stand at Standridge Stadium in Carrollton.

The boosters and students keep it fully staffed for every event held there throughout the year. They run the stand for more than just football games. They are open for soccer matches, track meets, and more—it truly is a year-round job. The funds are used to support many of the activities of the Newman Smith Band.

Keith Markuson, Klein HS Orchestra Director, Klein ISD: Membership in our booster club is open to all families in our orchestra program. We ask each family to contribute dues to the booster club (currently $45 per year) which is applied toward the budget. We generally have around 80% of our families participate.

The organization is structured around an executive board consisting of a president, vice-president, treasurer, secretary, volunteer coordinator, two fundraising coordinators, wardrobe chair, hospitality chair, and a publicity chair. The Board meets monthly with both orchestra directors to coordinate efforts to support the school orchestra program. The areas in which the booster club offers assistance include the following: organizing two annual fundraising activities, issuing and maintaining student uniforms, organizing an annual potluck dinner and annual meeting, providing an annual freshmen breakfast, providing refreshments for activities hosted by the school orchestra (e.g., Region auditions, Solo & Ensemble contest, Region workshops), organizing and presenting the annual awards banquet and dance, organizing transportation for elementary school tours, coordinating lunch for students during UIL festival, and organizing chaperons for the spring trip. In addition, the booster club funds a series of master classes presented by expert teachers to all orchestra students once or twice per month throughout the school year.

Shannon Carter, Seven Lakes HS Choir Director, Katy ISD: The organizational structure of our booster club is outlined in our club bylaws. The executive board is elected at the last general booster meeting of the year. A nominating committee presents recommendations for each office to the general membership.

The membership may choose to accept the list as presented or may nominate additional candidates from the floor. Four general booster club meetings are held each school year. Any changes to the bylaws, financial procedures, or budget must first be Southwestern Musician | May 2012 15

approved by the executive board before being brought to a vote at a general booster meeting. Funds raised are used to purchase music, pay for accompanists, repair uniforms, and finance other projects that support the choir. All expenditures are based on the budget submitted by the executive board and approved by the general membership. All student payments are deposited in the booster club safe and are never touched by a director. The treasurer’s accounts are examined by an audit committee to verify the records and affirm that they are correct.

How do you ensure the booster club’s priorities align with and support the overall goals you have established for your program?

AR: Knowing that the booster club and the director are in sync with the use of the funds is crucial. The first step is having a good relationship with your booster president. We work together to make sure the needs of the program are met and that the good of the students is always the priority. I believe that is the best way to ensure that the goals of the director and the booster club are the same. It is critical to have parents on the booster board who understand this. We are lucky to have had no problems with that sort of thing. However, if a problem were to arise, a simple phone call will usually take care of it.

KM: The best way we have found to do this is to attend all board meetings and provide advice and guidance to the board.

The board looks for this guidance, because they are interested in serving the students’ best interests. Without active input from the directors, the board might not always act in accordance with the wishes of the teaching staff. The directors present a detailed

calendar of events to the board, along with suggestions for how the booster club can assist. This should be accompanied by a list of due dates for action items.

SC: Dealings with the booster club can, for some directors, be the most stressful part of their job. To avoid unnecessary conflict, ensure there is an open line of communication with the president. Before each board meeting, the president submits an agenda for my approval, at which point I confirm that the business items I have brought forward are included. It is important to be open to questions and constructive criticism at board meetings. While you have had time to formulate your opinion on an issue, in most cases, the board members are hearing your ideas for the first time and may need adequate time to process the new information.

There have been several occasions when an objection by a board member has prompted discussion that ultimately kept the board from making an unforeseen blunder. It is comforting to me to know that if I appear to be making a decision that could have unintended consequences, I have a support system acting as my safety net.

How does the decision-making process work given the booster club’s leadership and your position as the director?

AR: The booster club’s decision-making process is strongly driven by the needs of the program as seen by the director. The majority of the decisions that need to be made are based on a long track record of success by the program and an understanding that any and all funds are going to the right place and being used for the betterment of the program as a whole. It is this understanding that allows the boosters and the director to work in harmony,

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do what is best for the program, and use funds wisely. A budget is established at the beginning of the year and approved by the boosters. It is then During this school year, MusicMatters has featured the following topics: my job as the director to stay as close to that budget as possible. It is the job of the booster club ‡ 6HOHFWLQJ 5HSHUWRLUH 6HSWHPEHU

to then provide the funds. If changes need to be ‡ 6XFFHVVIXO 5HKHDUVDO &ODVVURRP 6WUDWHJLHV 2FWREHU

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discussion at an upcoming meeting is usually the ‡ 'HYHORSLQJ 6LJKWUHDGLQJ 6NLOOV -DQXDU\

best solution.

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based on the recommendations of the directors, Â&#x2021; 3URJUDP 9LVLELOLW\ $SULO

working within the constraints of club bylaws as well as the regulations set out by school district ,I \RX PLVVHG DQ LQVWDOOPHQW JR WR ZZZ WPHD RUJ PDJD]LQH WR YLHZ board policy. The importance of maintaining a WKH LQWHUDFWLYH YHUVLRQ RI SOUTHWESTERN MUSICIAN :H KRSH \RX IRXQG good working relationship between the direcWKLV VHULHV YDOXDEOH DQG ZH ORRN IRUZDUG WR FRQWLQXLQJ WR RIIHU SHGD JRJLFDO LQIRUPDWLRQ WKDW \RX FDQ DSSO\ LPPHGLDWHO\ LQ WKH FODVVURRP tors and the booster board cannot be overstated.

Having clear and candid conversations between the director and board members is the only way to keep the organization focused on the goal of program supRules of Order is the authority on all questions of procedure not port. As long as booster club members understand and respect specifically stated in the bylaws. It is the job of the parliamentarthe vision and goals of the directors, the booster clubâ&#x20AC;&#x2122;s energy and ian to ensure that the proceedings are in order.

resources can be invaluable to the success of a music program.

SC: The executive board meets monthly and is governed Thanks go to our contributors for taking time to offer their ideas and experience. If you have follow-up questions, you by majority rule. In the event of a tie vote, the director votes to can email them at the following addresses: break the tie. Items that require additional approval by the general membership are placed on the agenda of the next general booster Andy Rein (reina@cfbisd.edu) club meeting. A formal motion must be presented to the memKeith Markuson (kmarkuson@kleinisd.net) bership and the floor must be opened for discussion. Once the Shannon Carter (shannonkcarter@katyisd.org) discussion has ceased, a vote can be taken on the motion. Robertâ&#x20AC;&#x2122;s

MusicMatters 2011â&#x20AC;&#x201C;2012

Southwestern Musician | May 2012 19

by Ronnie Rios

BandNotes

Get out of town

ith everything you say to your students, they respond. Everything you want them to do, they do. Everything that has to get done, gets done. Our band programs are rich with some of the greatest students you will ever meet. They may even be some of the best at your school! They certainly spend enough time there. So isn’t it time to pay them back a bit? While every school has its ups and downs, one thing is for sure—if you make your expectations clear, students can shine.

Some of the best moments in one’s career can be experienced on band trips.

Haven’t some of the most successful rehearsals of your life been on the road?

The thing is that students love working hard for you. And they also love taking their talents outside the band hall once in a while. Even the simplest field trip that includes a showcase of your students’ talents can be meaningful.

I worked on this column while in a Houston roller skating rink watching 60 students have the time of their lives! The concert was later in the afternoon, and it was great! These are the kinds of experiences that your students love and that naturally motivate them to excel (of course,

W

let’s not forget how much fun it is to have breakfast with 60 kids at McDonald’s!).

The reality is that kids love these things, and they love them even more when they get to experience them surrounded by their friends!

Also remember that this is 2012—we live in a time when students have easy access for learning about the endeavors of bands all across the country. Our students are asked to do many musical performances and rehearsals all year.

Rewarding them with a field trip, even just to a neighboring city, can do wonders.

To make the trip more meaningful, set criteria for their participation. Give your students something to look forward to!

Haven’t you always wondered why some students don’t make it through all the way to graduation when they’re in a band program? Maybe they had nothing to look forward to. If only they knew that if they stuck with it, something good was about to happen, maybe they would stay committed. Remember that if you aren’t having fun confined to the band hall every day, neither are your students.

Be Prepared Be sure to look through the Important Dates section below as there are deadlines

Our students are asked to do many musical performances and rehearsals all year. Rewarding them with a field trip, even just to a neighboring city, can do wonders.

20 Southwestern Musician | May 2012

and dates on which important information will be available online.

TBA Convention/Clinic I hope you have made plans to attend the TBA Convention/Clinic in San Antonio July 20â&#x20AC;&#x201C;23. Our State Honor Band competition will be held at the convention on Friday, July 20.

Clinic Proposals Please consider submitting a proposal to present a clinic at the 2013 TMEA Clinic/Convention. Proposals should

be pedagogical in nature and must be submitted online by June 1. Go to www.tmea.org/clinicproposals.

Important Dates Mayâ&#x20AC;&#x201D;Attend your spring Region meeting (see page 4 for details).

Mayâ&#x20AC;&#x201C;Juneâ&#x20AC;&#x201D;Renew your TMEA membership.

May 1â&#x20AC;&#x201D;Texas Music Scholar online entry deadline.

Mayâ&#x20AC;&#x201C;June 1â&#x20AC;&#x201D;Submit clinic proposals online for the 2013 TMEA convention.

May 15â&#x20AC;&#x201D;All-State Jazz etudes available

for purchase through music dealers.

May 31â&#x20AC;&#x201D;Pat McNallen scholarship application deadline (application available at www.tmea.org under the Band Division menu).

June 1â&#x20AC;&#x201D;Deadline for submission of waivers to the audition process. Waiver requests must be in the hands of the State Band Chair by this date.

June 15â&#x20AC;&#x201D;Deadline for Region Honor Band winners to be postmarked to Area Audition Chair.

June 30â&#x20AC;&#x201D;All TMEA memberships expire.

June 30â&#x20AC;&#x201D;Deadline for Area Honor Band winners to be postmarked to State Band Chair.

July 20â&#x20AC;&#x201C;23â&#x20AC;&#x201D;TBA Clinic/Convention in San Antonio.

February 13â&#x20AC;&#x201C;16, 2013â&#x20AC;&#x201D;TMEA Clinic/ Convention.

TMAA Summer Judging Workshops

!

" #

Satellite Workshops In addition to TMAA Judging Workshops being offered during the TBA, TCDA, and TODA conventions in San Antonio this summer, workshops will also be conducted in satellite locations around the state. $ % & '% ()**+,)** / Plano West Senior HS Bldg. C, 5601 West Parker Rd. Plano, TX Contact Kathy Hackett to preregister and for further information. kathy.hackett@pisd.edu

CONCERT BAND $ % & '% ()**+,)** / Plano West Senior HS Bldg. C, 5601 West Parker Rd. Plano, TX Contact Mark McGahey to preregister and for further information. mwmcgahey@gmail.com

MARCHING BAND % & 3% 0*)** +01)2* / Clements HS (Ft. Bend ISD) 4200 Elkins Rd. Sugarland, TX Contact Daniel Galloway to preregister and for further information. daniel.galloway@fortbend.k12.tx.us

$ % & 01% 0)**+2)2* / Dulles HS 500 Dulles Ave. (Fort Bend ISD) Sugarland, TX. Contact Kathy Hackett to preregister and for further information. kathy.hackett@pisd.edu

$ % & 01% 0)**+2)2* / Dulles HS 500 Dulles Ave. (Fort Bend ISD) Sugarland, TX. Contact David L. Lambert to preregister and for further information. dlambert55@comcast.net

ORCHESTRA $ % & '% ()**+,)** / Plano West Senior HS Bldg. C, 5601 West Parker Rd. Plano, TX Contact Jeff Turner to preregister and for further information. jeff.turner@pisd.edu

VOCAL

4 51' ! 6 / " !

www.txmaa.org 22 Southwestern Musician | May 2012

This comprehensive education tool brings harmony training, rhythm training and ensemble timing together in one convenient educator resource. It enables music educators to clearly demonstrate for students how to tune individual notes within chords, so that entire chords may be tuned. The HD-200 Harmony Director helps musicians understand how their parts fit into the complete harmony of the ensemble.

It’s at www.tmea.org Job Services ne of the TMEA member services that is accessed most often this time of year is Job Services. TMEA provides Job Services to support music educators who are in search of jobs and to Texas school districts (and other employers) who are looking for qualified candidates. A link to the Job Services section of the TMEA website is on the homepage below the member login fields. You can also access it from www.tmea.org/programs/jobs. On the Job Services page, you will find the following options:

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Submit a Vacancy: Texas school district personnel who are authorized to post positions can submit vacancy information for display online. TMEA staff follow a verification process before posting vacancies. It is important to notify TMEA when a vacancy should be removed to ensure the most accurate information is provided.

Submit a Résumé: Individuals can complete a basic résumé online so that their information will be searchable by employers who are looking for viable candidates. Résumés expire 90 days after posting, so you may need to resubmit for future consideration. The information you provide is viewable by anyone who searches the résumé database, so limit what you provide to that which you are comfortable being made public.

24 Southwestern Musician | May 2012

Programs Job Services Mentoring Network Texas All-State Texas Future Music Educators Texas Music Scholars Scholarships Distinguished Administrator Award Boosters

Search for Vacancies: From this page, you can search for job vacancies using a variety of criteria to limit your search. You can search as broadly as for all posted vacancies in the state or as narrowly as for a specific job title in a single school. If you don’t find the information you believe should be online, widen your search by removing search criteria.

Search for Résumés: If you have a job vacancy to fill, start by viewing résumés of applicants you know will be interested in your vacancy. You can enter a variety of search criteria to limit the number of résumés returned, from all submitted résumés to those who specified they want the type of job you have within your geographic area.

Return to www.tmea.org often for the latest updates and information.

Attention Teachers -

www.AMParents.org Engage, Educate and Empower your Parents & Booster Groups “Finally, there is a national forum dedicated exclusively to music parents and the vital role they play in the artistic lives of their sons and daughters….Founded by professionals who have devoted their lives to the belief that music is an essential component of education, AMP is clearly a concept whose time has come.”

Richard Floyd, State Music Director, Texas UIL “There should be no doubt in any educator’s mind, that the most important voice in determining the future role of education in our society will be that of our students’ parents.

Music education will be better off because of AMP!” Richard Saucedo, Chairman, Performing Arts at Carmel High School, IN

Join this growing grassroots movement today!

AMP thanks these Texas Charter Member Sponsors

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HOW CAN WE HELP? meet blog communicate

by Scott McCormick arents of music students play many important roles. I am the proud parent of an eighth-grade, soonto-be-freshman band student. I’ve worked in the field of music education and advocacy for over 25 years. I thought I had a pretty good handle on what my role and responsibility as a music parent should be.

But, the reality is all of us music parents are continually trying to answer this one question: What is my role as a music parent today?

P

Are we fundraisers?

Are we there to support the teacher?

Are we chaperons and volunteers for our kids’ trips and events?

Are we boosters? Are we advocates? Both?

The answer is yes to all of the above!

Parents of music students have much to offer, and as a group of many, we are poised to provide a level of support greatly needed by the few directors who do so much for our children’s development.

Key Role: Communications Assistant When I sat with other parents and friends at school concerts, I noticed how little information came to us from the teachers. Don’t misunderstand me; my daughter attends a school with excellent facilities, outstanding teachers, and supportive administrators who get it. But today’s reality is that most, if not all, of 26 Southwestern Musician | May 2012

our teachers struggle to find any additional time to communicate with parents and the community. I realized they could really use our help. And with the state of the economy, this reality is not going to change any time soon. Teachers are being asked to do more with less; so if parents want our programs to thrive, we need to step up.

Thanks to social media, websites, and blogs, sharing the benefits of music education can be easy. It’s also easy to use email to deliver information to parents to keep them engaged. But while it might be easy, that doesn’t mean time isn’t required or that blogs and email newsletters effortlessly appear. Parents who like to write and who enjoy spending time on a computer could easily assist music teachers with these communication functions.

Key Role: Community Representative Attending school board meetings to learn what your district’s priorities are and where your school board members stand is more critical today than ever.

As John Benham states in his book Music Advocacy: Moving from Survival to Vision, parents should be present at every meeting of the school board, not just when they have caught wind of a challenge or problem surfacing. I hate to admit

that until I started AMP, the National Association of Music Parents, I had not attended many of our school board meetings. This school year I have missed only two or three meetings due to travel to music conventions. To my surprise, I was the only parent in the audience at the first meeting.

When I walked into the school administrative building, I was chatting with the school board president. She asked why I was attending the meeting, and I responded, “I am an interested music parent representing our arts programs.” I believe it is critically important that our school board members know that there are committed parents engaged in the school board process.

Ultimately, we, the taxpaying parents, elect school board members to office. And if things are not as taxpayers believe they should be, taxpayers are the ones who can ultimately make changes in district leadership. I have met with our superintendent on a couple of occasions this year and am now on a first name basis with most of our school board members. They know why I am there.

Now, I am not suggesting we form vigilante parent groups to make all kinds of noise. (In fact I would highly recommend against that.) I am simply reminding

Teachers are being asked to do more with less; so if parents want our programs to thrive, we need to step up.

parents that, as taxpayers, we sit at the top of the education pyramid. We must tell our elected officialsâ&#x20AC;&#x201D;at all levels of governmentâ&#x20AC;&#x201D;about the importance of music and arts education in our schools.

Taxpayers hold the power and decide what is right for our kids.

Key Role: Greeter and Speaker When our groups perform at concerts and events, I know for a fact that our teachers could use help writing and sending concert invitations to school board members, the superintendent, assistant superintendent for curriculum, school principals, community and business leaders, other parents, and more.

In our district, we have sent letters on behalf of our music program to invite parents and administrators to our concerts.

We inserted facts about the importance of music and arts education. We thanked them for their commitment to the arts curriculum, and we praised the quality of the teachers we have in the district. And we have invited the superintendent to say a few words to the parents. During the concert, we designated a parent or teacher to speak to the other parents and deliver a preconcert advocacy message with a clear call to action.

We also need to learn to use the concert programs we produce as a means to deliver advocacy messages to our parents and administrators. There are many resources out there from which to gather this information. In addition to resources you may have already found on the TMEA website, the AMP website has sample letters, concert program templates complete with music education facts, and preconcert video and messages.

If you attend a concert where there are no announcements other than the introduction of pieces being performed, someone has missed an opportunity! These are perfect occasions to deliver the message of why we are doing what we are doing (not just what we are doing). Once again, it all comes back to communication.

mation to parents, teachers have the ability to track grades and GPA information as well as graduation data. Connecting student success and outcomes to their participation in music programs helps to support the cause and assures that your district maintains a thriving music and arts program for our kids.

One of the greatest

Give Them the Facts Go to the TMEA website Resources section and download the Fine Arts Participation Template from the Advocacy Materials for Distribution page. This presentation template includes compelling research results about fine arts education, including state-level enrollment data showing how campuses with higher fine arts enrollment have higher academic ratings and graduation rates. The template includes slides to customize with your campus data, and provides a link for obtaining this data that the Texas Education Agency provided to TMEA.

Key Role: Data and Statistics Collect enrollment statistics each year.

To gather statistics from past years, check listings from concert programs and yearbooks to keep track of the flow of students through specific music programs.

With technology being utilized by most districts to collect and disseminate inforSouthwestern Musician | May 2012 27

The University of Texas at Austin College of Fine Arts

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The World is Listening.

music.utexas.edu

opportunities we have as parents is to utilize our roles to bring other parents into the fold. There are many jobs to be done—big and small. Unfortunately, we often form cliques and fail to present an inviting atmosphere that would encourage new parents to become involved. This can be one of our greatest mistakes and missed opportunities. Most parents really do want to become involved. They need only to be asked and invited in!

While being actively involved will certainly help our schools’ music directors— who clearly deserve our support—at the end of the day, we have this privilege and fleeting opportunity to be alongside our children during this critical point in their development for one of the few activities in which they welcome our presence.

Surely this is something no parent should miss.

Scott McCormick is founder and CEO of the Association of Music Parents (AMP).

Prior to creating this non-profit organization in May of 2011, he led Bands of America and Music for All from 1984 until 2010. More information about AMP can be found at www.AMParents.org.

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Southwestern Musician | May 2012 29

by Lisa McCutchan

OrchestraNotes

Celebrate and reflect In Memoriam JOSEPH B. CARLUCCI December 26, 1924–March 23, 2012

hope that by now your UIL contests, spring trips, and festivals are over. Banquets are being planned, spring concerts are underway, and of course the very exciting TSSEC weekend is right around the corner! I do hope that everyone found rewarding results in this spring semester. I love this time of year because it allows us to celebrate victories, reflect on the year, and assess what we can do better in the future. It is also a time of year when we have to say goodbye to our seniors—something that is often difficult for many of us because they have contributed so much to our community and musical endeavors.

The spring semester and end of the year is also a time to look to the future.

I really enjoy getting out to the feeder schools to assess the incoming freshmen.

It is so important that the students be placed appropriately for the fall ensembles. A rubric system is always a good tool to use when assessing a large number of students. It is also wise to keep these records to promote feedback to students

I

and parents if requested. There are so many ways to audition students. What has worked well for me over the years is actually seeing the students at a placement audition. It is there that I get a feel for how involved a student wants to be in the high school orchestra program. I also provide information about the summer camp and about the high school program in general. Regardless of how they are designed, placement tests are valuable to both the director and the student.

TODA Convention I hope you are making plans to attend the annual TODA Convention July 23–26 in San Antonio. I know that TODA President Margaret Brown and the TODA Board are working hard to make it a very successful event for us all.

The convention is lots of fun, a good time to meet new friends with common interests and goals, and a good way to get new ideas for next year. At the TODA convention, we will host the Round 2 competition for HS Full, MS/JH Full, and MS/

I love this time of year because it allows us to celebrate victories, reflect on the year, and assess what we can do better in the future.

30 Southwestern Musician | May 2012

JH String Honor Orchestras on Monday, July 23, beginning at 2 P.M. At noon on Thursday, July 28, the All-State orchestra audition materials will be available online.

Submit a Clinic Proposal TMEA provides opportunities for individuals to propose workshops and clinics and for companies to sponsor workshops and clinics at our annual clinic/convention.

All sponsored clinics must be pedagogical in nature. Consider submitting a clinic proposal for the 2013 convention; the deadline for submission is June 1. Go to www.tmea .org/clinicproposals to submit a proposal.

Honor Orchestra Competition On June 29, Todd Berridge will host Round 1 of the TMEA Honor Orchestra competition for MS/JH Full, HS Full, and MS/JH String Orchestras at Permian HS in Odessa. All materials for this audition need to be mailed to Permian HS, c/o Todd Berridge, 1800 E. 42nd St., Odessa, Texas, 79762-5839. CDs must be postmarked by June 1. Please keep your mail receipt with the postmark date as documentation.

Spring Region Meeting I hope you’ve made plans to attend your spring Region meeting. Be thinking now about hosting a Region audition or concert, helping with tabulations, being an All-State organizer, a presider, working in the Orchestra Division Office, hosting an honor orchestra audition, or being on a panel for honor orchestra. You will find great reward when you increase your involvement. Region Chairs will have volunteer forms at the spring and fall meetings.

Music Advisory Committee Each Region needs to have a representative to serve on the UIL Music Advisory Committee during the TODA convention.

I look forward to meeting the newly elected Region chairs as well as seeing the veteran Region chairs during the TODA convention. I hope you have a great end of school year and a rejuvenating summer!

Important Dates May—Attend your spring Region meeting (see page 4 for details).

May–June—Renew your TMEA membership.

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

May 1—Texas Music Scholar online nomination deadline.

May–June 1—Submit clinic proposals online for the 2013 TMEA convention.

June 1—Postmark deadline for requests for waivers to the audition process to the State Orchestra Chair.

June 1—Postmark deadline for HS and JH/MS Full, and JH/MS String Honor Orchestra CDs and other entry materials.

June 9—First round of Honor Orchestra judging (HS and MS/JH Full, MS/JH String).

June 30—All TMEA memberships expire.

July 23–26—TODA Convention in San Antonio.

September 15—HS String Honor Orchestra online entries due.

October 15—Postmark Deadline for HS String Honor Orchestra CDs and other entry materials.

October 20–21—HS String Honor Orchestra judging.

October 27—Area recording date.

November 10–11—Area CD judging.

February 13–16, 2013—TMEA Clinic/ Convention in San Antonio.

Renew Your Membership

Symphony Orchestra Camp Strings, Winds, Brass and Percussion Grades 6-12

June 17-23, 2012 visit www.hsutx.edu/ASMF For more information contact: Heather Wood, Program Coordinator HSU Box 16230 . Abilene, TX 79698 (325) 671-2192 . asmf@hsutx.edu 32 Southwestern Musician | May 2012

All TMEA 2011–2012 memberships expire June 30. Also, if covered, liability insurance expires August 20.

Renew now to ensure you receive the benefits of your TMEA membership for the entire year.

Verify and update your email and mailing addresses. Your receipt and membership card are sent to your email address.

Memberships expire June 30 Renew Now! www.tmea.org/membership

SUMMER DIALOGUE III TMEAâ&#x20AC;&#x2122;s Role in Times of Change J U L Y

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8 â&#x20AC;&#x201C; 1 0 ,

2 0 1 2

ummer Dialogue III, TMEAâ&#x20AC;&#x2122;s Role in Times of Change, will be held July 8â&#x20AC;&#x201C;10 at the Airport Hilton hotel in Austin. This conference will be patterned after the 2007 event, where over 60 members from across the state came together to discuss pertinent issues facing music education in our schools at that time.

of which is the economic crisis and public school funding cuts, HB 3 in the 81st legislative session,

A U S T I N

and the implementation of STAAR, our new state accountability system.

TMEA serves its members and their programs?

What challenges do we face ahead and how should TMEA address them?

This is an opportunity for your Executive Board to gather input from across the state on direction for the future. This group will consist of an inclusive

geographic locations, and experience level.

Go to w w w.tmea.org /SD3 by May 11 to apply.

HOW DO WE OVERCOME TODAYâ&#x20AC;&#x2122;S CHALLENGES economic crisis â&#x20AC;&#x201D; school funding cuts S TA A R i mp l e m e n t a t i o n â&#x20AC;&#x201D; a c c o un t ab i l i t y s y s t e m

TO ENSURE CONTINUED FUTURE SUCCESS?

Apply by May 11: www.tmea.org/SD3 Southwestern Musician | May 2012 33

Getting the Most Out of Your Minutes

BY GARY SEIGHMAN

W

hether we have 20 rehearsal hours to prepare a large masterwork or just four lunch periods to teach the sixth grade graduation program song, our effectiveness as conductors depends on our ability to envision the rehearsal process from day one to performance. Just as a cathedral cannot be built without an architectural design, the art of rehearsing requires a similarly fine-sculpted plan. In addition to achieving the desired musical outcomes, our rehearsals can serve as models of efficiency for our students, revealing to them the value and dedication required of our art.

An effective plan informs each procedural step while concurrently offering a large-scale view of the overall preparation.

Factored in are the musical details we uncover through careful repertoire study, the available rehearsal time, and the larger musical goals we set for our students. While detailed rehearsal plans might on the surface appear to constrain the creative process, it is through our careful foresight and focus on time management that we will actually promote greater freedom, creativity, and spontaneity.

containing foreign language or highly syncopated rhythms.

Others might be less so, such as an uneven phrase length that causes breath support issues and weakening intonation. Or, a note in the passaggio may be set on a difficult vowel for a young baritone to perform. These examples are sometimes less obvious to identify unless we carefully investigate the score. Some additional challenges might include the following:

Itâ&#x20AC;&#x2122;s in the Music With myriad resources available on the topic of score study, the following suggestions arenâ&#x20AC;&#x2122;t intended as an in-depth focus on this critical component of rehearsal planning. Given the inherent uniqueness of a score, it is imperative to begin the planning process with this step, given it will drive an equally unique strategy for rehearsing it. This study includes identifying form and structural components as well as determining potential challenges for the ensemble. Some challenges will be obvious, such as in pieces

repeat signs, awkward page turns, deviation from an established musical pattern, sudden shifts in texture, unison singing, unfamiliar stylistic demands

34 Southwestern Musician | May 2012

diphthongs, particular vowels in register extremes, foreign languages, syllabic stress

compound or changing meters, syncopation, triplets, tempo changes, rubato, hemiolas

tessitura, chromaticism, melismas, voicecrossings, leaps into dissonances, modulation/mode changes, diminished chords, uneven phrase lengths, long crescendos/ diminuendos, subito dynamics, chord voicing, cadential tuning staccato notes not rushing, accents not scooping or causing vocal issues

Warming up to the Objective Thanks to the wide availability of pedagogy resources, todayâ&#x20AC;&#x2122;s conductors understand that warm-ups are not just filler exercises allowing time to take attendance. Besides providing a foundation for individual and ensemble technique, warm-ups can be used

to address the specific musical and stylistic needs of the repertoire. By identifying possible pitfalls through score study, we can create exercises that will help our ensembles overcome specific challenges. Warm-ups can offer a successful learning experience the director can refer to during the applicable time in rehearsal.

Warm-up objectives may include:

seventh or augmented fourth) or modality (not every warmup has to be in major)

resonance placement

balance/unbalance within a certain chord

long phrases that can lose energy or flatten in pitch Doing the Math There is a wonderful scene in the Robert Shaw Preparing a Masterpiece video series in which Shaw is seen walking along the rows of choir chairs before a rehearsal adjusting the exact position of each. Though it is just one example of Shawâ&#x20AC;&#x2122;s meticulous approach to the rehearsal process, it also represents his larger

One of the biggest dangers for an ensemble director is to stick with the original plan despite unexpected musical outcomes and ever-changing classroom dynamics. philosophy on the art of music making. Just as a football coach needs to be aware of the number of minutes left on the clock in determining plays and managing timeouts, we must also be aware of an ensembleâ&#x20AC;&#x2122;s progress within the full scheme of its preparation. This requires a rehearsal map that carefully considers time allotment and the amount of music to be learned.

To begin, one should determine the total number of contact minutes with the ensemble. In preparing a short patriotic program for the communityâ&#x20AC;&#x2122;s Memorial Day celebration, the director calculates that she has 400 total rehearsal minutes over eight rehearsals. Although her warm-ups will directly address musical issues, she subtracts the 80 minutes (10 minutes per rehearsal) devoted to these and to sightreading. This leaves 320 minutes to focus on repertoire. Two of the pieces are fairly repetitive and contain familiar melodies, so she decides to devote one-half of her total time (about 160 minutes) on the third, more difficult piece. Divided evenly over 8 rehearsals, this calculates to approximately 20 minutes per rehearsal for the more difficult piece and about 10 minutes on each of the other pieces. While she is not obligated to stick with these numbers, she has at least accounted

Southwestern Musician | May 2012 35

for each piece and developed a framework from which to make adjustments when needed.

Below is a more detailed time allotment chart for the same director’s upcoming masterwork concert with her community choir that will feature Beethoven’s Mass in C, Meeresstille und glückliche Fahrt, and Vaughan Williams’s Five Mystical Songs.

DRAFT PLAN 1,000 rehearsal minutes (10 rehearsals @ 100 minutes/each) = 0.79 minutes per measure 1,269 total bars sung by the choir # minutes per movement/piece: Mass in C

Kyrie (93 bars) = 73 min Gloria (258 bars) with fugue “Cum Sancto” = 203 min Credo (287 bars) = 226 min Sanctus (126 bars) with repeated “Hosanna” fugue = 100 min Agnus Dei (143 bars) = 113 min

Meeresstille

220 bars divided into two contrasting sections.

73 bars and 147 bars each (1st section = 58 min. 2nd section = 116 min)

Five Mystical Songs 142 bars = 112 minutes

Note that this draft plan has assumed equal consideration for every bar and hasn’t yet factored in the unique qualities of each work or solo preparation. For example, the director determines

36 Southwestern Musician | May 2012

the choir will require extra time to master the quick-moving German text in Meeresstille. It can also be predicted that once certain stylistic conventions become habit, certain aspects of the Mass setting will improve at a faster rate. This will free up time to allow more for building stamina and working out transitions in the Vaughan Williams set. So while this plan is not yet complete, it does at the very least provide guaranteed time allotment for each piece. It is also likely that the director will make additional changes after assessing the ensemble’s response to the musical challenges in those initial rehearsals.

Big-Picture Thinking Efficient rehearsals target those passages that need improvement rather than repeatedly singing the same already-secure sections or reteaching concepts when they apply elsewhere. It can be beneficial to begin rehearsal by briefly reviewing a previously learned section to build confidence and then focusing directly on a more challenging spot. The director could even skip around the score and rehearse difficult, non-adjacent passages that require attention or work backward through a piece of music while making sure to connect any transitions. One’s methodology should not be determined by waiting for the ensemble to make errors but by anticipating issues. Nor should we ever ask our students to repeat a passage in rehearsal without giving clear instructions of what can be improved.

Elements of expressive musicianship must be addressed early and often. The notion of learning notes before adding musicality only ensures that the most-sung iterations during this perceived drilling stage will be performed unmusically. Big-picture

understanding can still be achieved while acknowledging Shawâ&#x20AC;&#x2122;s technique of focusing on one musical element at a time (e.g., pitch accuracy, articulation, rhythm, intonation, and phrasing) so long as one varies the rehearsal procedures. These techniques may include:

"

articulation, and phrase/syllabic inflection (or each part chanting the text on an assigned pitch within a cluster chord)

structural harmonies Instead of treating musicianship as if it were some cake frosting that magically appears at the finish, by using a wide spectrum of approaches often and early in preparation, each of the pillars of musicianship will steadily improve throughout the rehearsal process.

For many great composers, these various musical elements did not exist in isolation, and so it doesnâ&#x20AC;&#x2122;t make sense to teach their music always as such. In fact, concentrating on expressive components early in the process can often make the technical challenges easier to master. As neurological research has indicated for years, the human brain synthesizes detailed concepts at a faster and more reliable rate when the big-picture scenario is made evident. Thus, when we craft a rehearsal plan, we need to consider

how we can offer this perspective early to support our studentsâ&#x20AC;&#x2122; musical and technical progress.

Planning to be Spontaneous?

An ironic result of detailed planning is that it actually promotes freedom for productive spontaneity in the rehearsal. One of the biggest dangers for an ensemble director is to stick with the original plan despite unexpected musical outcomes and everchanging classroom dynamics. There will be times when an ensemble learns a passage faster than expected or takes longer to grasp a particular musical concept. By estimating the time needed to prepare each piece, one will be more likely to borrow chunks of time from another piece to secure a section or to allow one final run-through before the bell rings so that each singer leaves the room enthused and motivated. This increased flexibility is possible because you know where and how to make up this time in a future rehearsal. Envisioning the entire rehearsal process alleviates the constant concern for time and lessens oneâ&#x20AC;&#x2122;s hesitation to address fleeting musical issues or share a fun and relevant anecdote. Anxiety from lack of proper planning can result in missed opportunities for memorable rehearsal experiencesâ&#x20AC;&#x201D;the ones that are most often not planned.

References Robert Shaw, Robert Shaw Preparing a Masterpiece, [New York]: Carnegie Hall Corp, 2006.

Gary Seighman is Director of Choral Activities at Trinity University in San Antonio.

Southwestern Musician | May 2012 37

by Janwin Overstreet-Goode

VocalNotes

The musical: a collaborative effort roducing a musical can be one of the most time- and laborintensive efforts, yet it can also be one of the most rewarding activities in which a school music program can participate. We recently completed our school’s 44th annual musical.

The production involved the choir, band, drama, dance, and art departments, as well as the assistance of several other non-fine arts faculty and many parent volunteers.

If you are considering a musical production on your campus or are looking for new solutions to longtime issues, the following are some suggestions that may be useful: Determine which faculty members will be involved in the production—choir and drama; choir, drama, dance; choir, drama, band/orchestra, dance; or any other combination you can create. If you are working with multiple directors, one person will need to be in charge of the production—expenses, publicity, ticket sales, and other business aspects of the production.

Other school staff participation could include the art department (program,

P

ticket, T-shirt design) and engineering/ technical/shop departments. If you do not have enough expertise among your faculty, consider utilizing parents, community members, or other students who have the required skills. And, if necessary and if your budget allows, consider hiring outside individuals.

The team of directors should meet several months prior to the show’s opening to determine which show to produce. Take into account the capabilities of the cast of students who will participate. Consider vocal ranges, acting demands, and any dance skills that may be required. Don’t pick a show you can’t cast! The team of directors should also determine which students will be eligible to audition. Will this be a schoolwide production or will it be solely for the fine arts department?

Will it be a choir-only show? How many students will be in the cast? Different shows will have different needs—don’t choose a show that requires a cast of thousands if you will have only 20 students auditioning. And, conversely, don’t select a show with a small ensemble cast if you

Producing a musical is a truly rewarding experience, one that creates lifelong memories for students and teachers alike.

38 Southwestern Musician | May 2012

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Marching Camp Drum Major, Colorguard, and Leadership

June 17 – 21

String and Choir Camps All-State Choir Camp July 29 – August 1

Summer Strings July 15 – 20

Texas Cello Academy July 30 – August 3

For more information, visit

www.uta.edu/music/camps or call 817-272-3471

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For more information: www.trinity.edu/music or call 210-999-8212.

have significant interest in musical participation on your campus.

When you are evaluating possible shows to produce, you can request perusal copies of the shows without charge. During this step, don’t forget about the cost for the script and score rental, as well as the royalties involved. Where will funds come from? Does your school have a budget for a musical? Is the musical a self-supporting entity? Will the initial money have to come from your budget? The cost often depends on how far in advance of your show you request to have the materials.

Once you decide on a show, develop a production timeline that includes all rehearsals and construction of stage sets.

Two to three months prior to the start of rehearsals, auditions should be held for the leads. On our campus, as the musical director, my first step has been to select the singing cuts. All of the directors are present for these auditions. The dance teacher/choreographer holds dance auditions, and then our team meets to select students for callbacks. At that time, we hear readings from the selected musical and try to pair the students in as many possible combinations in order to choose the strongest students. You may choose a different process, but try to incorporate acting, singing, and dancing into your audition procedure.

Consider having all auditioning students, whether for leads or for chorus positions, sign a contract or commitment form that defines all the requirements and expectations for the musical. This could include contact information for the student and parents, acknowledgement of the rehearsal schedule, costume fee responsibilities, performance experience and training, and a list of rehearsal conflicts.

Once leads are selected, the chorus auditions can begin. Again, I select the singing cut, teach the music to the students, and then audition them individually.

The choreographer does the same with dance, and the drama teacher does stage work with the students. Traditionally, we have about 150–200 students audition for a musical. Our 2012 cast had 85 members.

The chorus is evenly divided between singers, dancers, and actors. Each core team member ranks and rates the students and makes selections based on those criteria. If your show has a strong dance emphasis, you will want to have enough

cast members with dance skills to cover the needs. If you select a show with divisi chorus parts, you will need to have a balanced chorus. Assess your school’s talent and adapt the musical accordingly.

Once your cast has been selected, distribute your script and music to the cast members. If possible, get these materials into your students’ hands a couple of weeks prior to the beginning of rehearsals. With iTunes and YouTube, students can search out performances of the songs and dances they will be performing. Plan on five to seven weeks of rehearsal before your opening night. Early rehearsals can be devoted to teaching the chorus members the music and dance step—this is accomplished by the music director and the choreographer. The stage director can use that time to work with the leads on blocking scenes. As time permits, the music director and choreographer can also work with the leads on their individual songs and dance numbers.

After two or three weeks of intensive

work, the chorus should rehearse on stage, integrating into the show. At least one week before the show opens, technical rehearsals involving light, sound, and stage crews should begin. We have one lengthy technical rehearsal on the Sunday afternoon before our opening night to work out the many small problems that inevitably occur when you add costumes, makeup, lights, sound, sets and props.

If at all possible, utilize your parents.

They can help in a variety of functions.

We are fortunate to have extensive parent involvement at our school. Committee chairs are appointed, and then committees are created to take care of details supporting to the show, including props, concessions, costumes, publicity, sets, and security. If you do not have strong parent assistance for your program, you may need to make appropriate adjustments to your workload and work schedule for your show.

Producing a musical is a truly rewarding experience, one that creates lifelong

Be a TMEA Clinician!

Many successful clinics are offered by TMEA members like you. Submit a proposal now to share your expertise February 13–16 at the 2013 TMEA Clinic/Convention.

www.tmea.org/clinicproposals Deadline: June 1

memories for students and teachers alike.

Get Recharged This summer, in addition to rest and relaxation, recharge your batteries with a summer workshop, clinic, or convention. The Texas Choral Directors Association Convention, held in San Antonio July 23–26, is a great opportunity to reconnect with old friends, read new music, visit the exhibits and enjoy the Riverwalk.

Submit a Clinic Proposal TMEA provides opportunities for individuals to propose workshops and clinics and for companies to sponsor workshops and clinics at our annual clinic/convention. All sponsored clinics are to be pedagogical in nature. Do you have ideas or suggestions that you are willing to share with other choir directors? Consider submitting a clinic proposal for the 2013 convention; the deadline for submission is June 1. To submit a proposal, go to www.tmea.org/clinicproposals.

Important Dates May—Attend your spring Region meeting (see page 4 for details).

May–June—Renew your TMEA membership online.

May 1—Texas Music Scholar online nomination deadline.

May 1—Postmark deadline for 2013 TMEA Convention Performing Choir application and CD. May–June 1—Submit clinic proposals online for the 2013 TMEA convention.

June 30—All TMEA memberships expire.

July 23–26—TCDA Convention.

February 13–16, 2013—TMEA Clinic/ Convention.

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Remember to Renew Your Membership All TMEA 2011â&#x20AC;&#x201C;2012 memberships expire June 30. Also, if covered, liability insurance expires August 20.

Renew now to ensure you receive the benefits of your TMEA membership for the entire year.

Thank you for your membership in TMEA. Our association continues to be the largest music educators association in the country, and for that we are justly proud. The strength of TMEA, however, is not only in its size but in the quality of its membership. The strength of music programs in our schools is rooted in the dedication of its teachers, all united in a mission to provide the best music education for all Texas schoolchildren.

Membership in an organization of over 11,000 music educators carries with it benefits inherent from this strength in numbers. TMEA is your voice to the Texas Legislature and the

State Board of Education. In addition to representation by TMEA leaders, members enjoy a myriad of benefits, including access to group health insurance, low-cost liability insurance, professional development opportunities, online and printed pedagogical and advocacy resources, and more.

TMEA strives to provide meaningful professional development for our members and wonderful opportunities for our high school students through the All-State audition process and through Texas Future Music Educators.

Renew today to continue supporting the future of music education in Texas.

The TMEA membership year ends June 30. Renew now, and remind your colleagues to do the same!

Renew Online Today Just click Renew from www.tmea.org Membership Join Renew Update Personal Info Member Card/Receipt Member Directory Verify and update your email and mailing addresses. Your receipt and membership card are sent to your email address.

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Southwestern Musician | May 2012 43

tmea distinguished a dm inistr ator spotlight The TMEA Distinguished Administrator Award program is intended to recognize school administrators whose support has been critical to the many music program successes in schools across our state. In this Administrator Spotlight, we are featuring some of the recipients of this distinction. The first installment of this series appeared in the January issue. To nominate your administrator, go to www.tmea.org/adminaward.

Lynn Akin, Principal Coronado HS, Lubbock ISD Nominated by Mack Bibb Lynn Akin has a proven record as an educator and administrator, and his successes are as dramatic as the range of students he has guided. Mr. Akin is a students’ principal, always concerned for their well-being and with bettering them as people. He believes that an involved and committed student achieves more and improves more than one who is just on the edge of belonging. Mr. Akin encourages students to participate in whatever interests them and is especially encouraging of participation in the fine arts. He, along with other determined administrators in our district, has encouraged the development of our fine arts programs and given the resources necessary for them to grow and evolve. He is additionally supportive by attending all public performances and events and by serving as a sponsor for band and choir trips. I always feel his support and backing, while knowing he has my best interests at heart.

Theresa Bruce, Principal Wilder Elementary School, Alvin ISD Nominated by Kathryn Haynes Throughout the years, Theresa Bruce has been a constant encourager and supporter of the fine arts staff. She considers our class time as valuable as that of the classroom teachers in all other subjects. Except in extreme circumstances, students are not taken out of music class for tutoring, finishing homework, punishment, or any other reason. She encourages us to work with other teachers to tackle curriculum subjects together and contribute to all students’ learning. You will find music classes singing songs about the collective names of groups of animals or math classes singing about angles. Furthermore, Mrs. Bruce has fought for equal technology in our fine arts classrooms. When the district made the decision to purchase Promethean boards, fine arts classes were not included. Mrs. Bruce first apologized, then set about providing us with an Elmo document camera and projector to boost our technological capabilities. Last summer, she surprised us by providing Promethean boards for the fine arts classes—she had continued to work on our behalf, insisting that fine arts classes were as important as others. Finally, Mrs. Bruce has supported our attendance at the TMEA convention for many years. She assists with expenses to the best of her limited budget and encourages our attendance because she understands how it 44 Southwestern Musician | May 2012

benefits both the students and teachers. Laura Ingalls Wilder Elementary is a better place for her leadership and our students are better people because of her living example and guidance.

Dr. Bruce Gearing, Superintendent Marshall ISD Nominated by Melissa Hammers, Johanna Smith, Andy Thompson, and Erika Zeller In the face of budget cuts, Bruce Gearing pledged he would not cut any fine arts positions because he believed in what the fine arts mean to MISD students. In some ways, we think taking this stand was difficult for him. In other ways, we believe it was easy because he believes in the power of music education, understands what it takes financially, and appreciates the personnel needed to run a successful, growing music program. Dr. Gearing has always been completely supportive of every music program.

He attends concerts and contests; he even comes and congratulates our students after contest and festival performances. When we perform well, he makes sure that our programs get the district recognition they deserve. He commits the very best of himself every day to our entire district and continues to remain positive when the future outlook of our district’s economy is bleak. He makes daily walk-throughs in our schools, talking with teachers and students. He is truly a leader in our community, even cutting his own salary in order to save the jobs of others. Without Dr. Gearing, we would not have the success and support that we are currently receiving from our district and community.

Desiree Marks-Arias, Principal Austin Middle School, Irving ISD Nominated by Jamie Cabot Since becoming principal at Austin MS, Desiree MarksArias has been dedicated to rebuilding and strengthening the fine arts programs. In three years, the department has grown from 2 full-time music teachers (1 band, ½ choir, ½ orchestra) to 3½ full-time positions (1½ band, 1 choir, 1 orchestra).

Mrs. Marks-Arias has worked closely with our fine arts administrators and school board trustees to approve almost $500,000 in bond purchases for instructional items and instruments to rebuild the music classrooms. She has also made music a required course for sixth graders, thus helping to more than double enrollment numbers in band, choir, and orchestra. Mrs. Marks-Arias shows her support by attending almost all of the

fine arts concerts and she frequently congratulates and celebrates our success with the entire school and faculty. Having received a quality music education herself, she appreciates and understands what music can do for our students. During last year’s budget crisis, she fought to keep teaching units for the arts and encouraged the district to allow middle school students the opportunity to have two elective courses at the time when the district required all middle schools go from an eight-period to a seven-period day. Mrs. Marks-Arias is a strong promoter and supporter of music education and is our very own distinguished administrator!

Kevin Worthy, Superintendent Gunter ISD Nominated by Elizabeth Kulbeth Kevin Worthy’s progression from being a classroom teacher to superintendent demonstrates his desire to serve children and his compassion as an educator. Throughout his career, Mr. Worthy has maintained enthusiasm for students participating in fine arts.

He regularly attends performances, competitions, and other activities that showcase the fine arts. Recently, when the state legislature drastically cut education funds, he was determined that our fine arts programs would not suffer. Even though our district’s budget was significantly cut, he made sure the choir budget actually increased by a small amount. Our choir program has grown tremendously in the past few years. We have many more students participating in both choir and band than in previous years. Instead of sacrificing the needs of our fine arts pro-

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grams, Mr. Worthy vowed not to affect these programs negatively based on budget constraints. He is also notorious for recognizing our students in and out of the classroom. When he is on campus, he makes a point to greet our students, calling them by name, and compliments them on their great performances. Mr. Worthy never fails to remember a student, nor does he ever forget to acknowledge their performance. For the past five years, our select choir has been chosen to sing the national anthem at the state basketball tournament, and Mr. Worthy has made the trip just to hear them perform. Being a campus administrator, much less a district administrator, takes a lot of time and dedication.

Mr. Worthy manages to excel at his job as a superintendent with enthusiasm, compassion, and diligence for excellence.

Richard Wright, Principal Edna HS, Edna ISD Nominated by Bobby Mowles Richard Wright is one of a kind. Not only does he attend every concert and competition, he also serves as our halftime show announcer, and he drives one of the band buses for every out-oftown game and competition. He supports each and every program at the school. Mr. Wright is also the one-act play coordinator and is a longtime state champion power lifting coach. He is our loudest supporter at football games and marching competitions.

He has been a foundation for our success, and he has done everything in his power to help us further our program. Mr. Wright provides our students a great role model and mentor. I am proud to work for such a man and friend.

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UNT College of Music Summer Workshops 2012 Pirastro Strings Elite Soloists Program Jeff Bradetich June 4-8

12th Annual Beginner and Intermediate Double Bass Camp Jeff Bradetich June 13-15

Flute! High School Masterclass Mary Karen Clardy June 6-10

Marimba Workshop Mark Ford June 18-22

CLAR-Essentials High School Clarinet Workshop Kimberly Luevano June 7-9

String Orchestra Day Camp (Grades 5-12) Karrell Johnson June 18-22

Marching Percussion Camp Mark Ford June 11-14

Drum Major Camp Nick Williams June 21-24

25th Annual Bradetich Double Bass Masterclass Jeff Bradetich June 11-15

Vocal Pedagogy Workshop Stephen Austin June 22-23

Flute! Fundamentals for Teachers Mary Karen Clardy June 11-15 Lynn Seaton Jazz Double Bass Workshop Lynn Seaton June 11-15 Conductors Collegium Eugene Migliaro Corporon, Dennis Fisher, H. Robert Reynolds June 11-23

Flute! Repertoire and Performance Masterclass Mary Karen Clardy June 22-24 Vocal Jazz Workshop Paris Rutherford, Rosana Eckert, Gary Eckert and Jennifer Shelton Barnes June 24-29

Jazz Winds Workshop (Sx, Trpt and Trb) Brad Leali, Mike Steinel, Jay Saunders, Rodney Booth, Tony Baker and Steve Wiest July 9-14 Texas High School All-State Choir Camp Alan McClung July 11-14 Jazz Combo Workshop Mike Steinel, Brad Leali, Rodney Booth, Jim Riggs, Stefan Karlsson, Lynn Seaton, Ed Soph and more.

July 15-20 Middle School/Jr. High Honor Choir Camp Alan McClung July 18-21 Piano & Organ Wellness Sheila Paige July 23-31 Mariachi Summer Camp Donna Emmanuel July 24-28

Alexander Technique Phyllis Richmond July 6-7

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

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

by Thomas H. Waggoner he Texas Fine Arts Summit XIII, hosted by the Center for Educator Development in Fine Arts (CEDFA), will be held June 7â&#x20AC;&#x201C;8 at the Airport Hilton Hotel in Austin. The Fine Arts Summit is the only major venue in Texas that brings together educators from each of the four fine arts content areas of music, art, dance, and theatre. The Fine Arts Summit XIII is the final year in a four-year cycle of Fine Arts Summitsâ&#x20AC;&#x201D;Assessment in the Arts. The four-year plan was to provide Summit participants with professional development training on assessment strategies in each of the four fine arts content areas, one strand of the Fine Arts Texas Essential Knowledge and Skills (TEKS) per year:

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TEKS and studentsâ&#x20AC;&#x2122; interests, creativity, and curiosity over an extended body of work and time. This approach to assessment demands that educators constantly adapt and modify curriculum and instruction to meet the needs of all students.

The music presenters for this yearâ&#x20AC;&#x2122;s Fine Arts Summit are the following: Elementary Music, Grades Kâ&#x20AC;&#x201C;5 Lisa Roebuck, Curriculum Specialist (Round Rock ISD) Patricia Moreno, Fine Arts Instructional Coordinator (Austin ISD) Secondary Music, Grades 6â&#x20AC;&#x201C;12 Daniel Arredondo, Lehman HS Choir

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4. Assessing Creative Growth TMEA Administrative Director Kay Vanlandingham is serving as coach, providing guidance for the music presenters.

The pre-Summit sessions, which have been highly attended in previous years, will continue this year on Thursday morning, June 7. Furthermore, as a result of the success of the pre-Summit sessions, post-Summit sessions have been added

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arts education and in technology education. The Fine Arts Summit XIII will also be a celebration of the conclusion of the four-year assessment cycle and, particularly, because of the fact that the >

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available at the Airport Hilton Hotel for attendees.

Online registration and details pertaining to the Texas Fine Arts Summit XIII are at www.cedfa.org. Thank you for all that you do for students through music every day of the school year. I look forward to your joining us at the Fine Arts Summit to enhance music, art, dance, and theatre education in Texas schools! #

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Andrews, Executive Director of CEDFA (krisandrews@cedfa.org), or me if you need additional information pertaining to the Texas Fine Arts Summit XIII.

Thomas H. Waggoner is Program Director of Fine Arts Education with the College of Fine Arts at the The University of Texas at Austin. He can be reached at twaggoner@austin.utexas.edu.

SCHOOL OF MUSIC Bachelor of Music in Music Education and Performance Bachelor of Arts in Music

www.tlu.edu/music

S C HOOL OF MUSIC FAC ULT Y Douglas R. Boyer Beth Bronk " ,)(5 )()&3 Eric Daub Eliza Thomason

Director, School of Music #, .),5) 5 "), &5 .#0#.# Director of Bands Director of Vocal Studies Director of Piano Studies Director of Strings

Adam Bedell, Percussion

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S CH O L A R S H IP S For specific qualifications for each award, visit www.tlu.edu/music.

Da capo Award in Music Up to full tuition per year Audition and interview date has passed.

Jones Fine Performance Arts Award for Awards for Music Majors Non-Majors Up to $4,000 per year Up to $2,000 per year Auditions dates: March 24, 2012 10 a.m.-noon April 21, 2012 10 a.m.-noon

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Southwestern Musician | May 2012 49

Oklahoma State University

Audition Dates: January 28, 2012 Percussion Auditions February 18, 2012 Wind and Brass Auditions, Piano Auditions February 27, 2012 Voice Auditions March 3, 2012 Piano Auditions March 4, 2012 Voice Auditions String Auditions by Appointment Only: 405-744-8984

music.okstate.edu 405-744-8998

echnology, technology, technology! Our world is obsessed with everything electronic and new. There is so much out there—so where do you start? I do not have the definitive answer, so I simply continue to question and ask for the latest and greatest websites and apps. I am amazed at the speed and simplicity with which my students discover and master all the games and gadgets.

My niece, who will be starting kindergarten next year, is learning her letters, numbers, words, colors, and almost everything else on her own iPad! She likes to show “Aunt Chele” all her accomplishments. In my column last may, I included some websites I found particularly useful.

The following are even more for you to check out:

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Websites www.quavermusic.com—Great resources your district can purchase and really cool free activities and

games for your students to enjoy! www.musictechteacher.com—Helpful and easy quizzes and worksheets are available on this site. Check it out!

by Michele Hobizal

ElementaryNotes

I have a website and an app for that!

www.philtulga.com—I was reading an article about elementary music and technology from Amy M. Burns.

She recommended this site. Also a good site for creating musical instruments and for information on how music works with science and math! www.nyphilkids.org—This site is a favorite of mine. The kids love Piccolo Pete Noterunner and Musical Mingles. iPad Apps GarageBand—This is so much fun, but it’s not free.

Teacher Pal—I just found out about this one, so I’m still learning how to set up all my classrooms to be ready for next year.

I believe 100% in the power and importance of music. —James Taylor Southwestern Musician | May 2012 51

Tarleton State University NEW DEGREE PROGRAM 36 hours total Thesis or non-thesis tracks Affordable

Master of Music in

Financial assistance available

Music Education Totally online degree For working music educators and musicians seeking career advancement Elementary or secondary music education emphasis 10-week courses each semester

OUR GRADUATE FACULTY Teresa Davidian, Ph. D. Music Theory and Musicology, University of Chicago Analytical Techniques, Ethnomusicology, Musicology Vicky V. Johnson, D.M.A. Music Education, Boston University Technology in the Classroom, Research Methods, Pedagogy Anthony Pursell, D. A. Instrumental Conducting and Music Education, Ball State University Advanced Arranging Gary Westbrook, Ph. D. Music Education, University of North Carolina of Greensboro Research Methods, Psychology of Music

For more information: Dr. Teresa Davidian (254) 968-9245 | davidian@tarleton.edu

Music Sparklesâ&#x20AC;&#x201D;A great site for improvisation. I wonder what a group of students using their iPads to create rhythms and harmonies would sound like.

If you are unable to book the computer lab, check out the mobile laptops, or if you donâ&#x20AC;&#x2122;t have access to technology of this kind, think of others ways to include technology into your studentsâ&#x20AC;&#x2122; musical lives. I have a spider web outside the music room with a giant spider and several honeybees

with musical websites on their bodies.

Include fun music websites and apps in the PTA newsletter, and donâ&#x20AC;&#x2122;t forget the weekly bulletins the grade levels may send out to the parents. How about including a section entitled â&#x20AC;&#x153;Summer Fun with Technology and Musicâ&#x20AC;??

Non-technology Ideas for May Get outside! Before the temperature hits 100 degrees, take the instruments outside. A drum circle outside is

Renew Your Membership All TMEA 2011â&#x20AC;&#x201C;2012 memberships expire June 30. Also, if covered, liability insurance expires August 20. Renew now to ensure you receive the benefits of your TMEA membership for the entire year.

Verify and update your email and mailing addresses. Your receipt and membership card are sent to your email address.

Memberships expire June 30 Renew at www.tmea.org/membership

so much fun! Yes, it is a bit noisy with all the instruments, but equally rewarding is when something clicks with the students and mayhem suddenly becomes musicâ&#x20AC;&#x201D; what a great moment! This will not happen in the first few minutes. Give your students a chance to explore and listen to the sounds around them. â&#x20AC;&#x153;Charlie Over the Seaâ&#x20AC;? is a good circle song for outside.

Sing, sing, and sing some more! Thatâ&#x20AC;&#x2122;s what makes our profession so greatâ&#x20AC;&#x201D;your singing voice instantly travels with you!

This could also be a wonderful time to create instruments. Paper plates can make great tambourines and oatmeal boxes make great shakers. Check out the website from Phil Tulga about creating some unusual instruments. Ask your librarian for books your students can check out.

As the Biscuit Brothers say, â&#x20AC;&#x153;Go Make Music!â&#x20AC;?

Elementary Sessions for the TMEA 2013 Convention Are you looking for a certain topic that has not been addressed at the convention? Are you integrating technology in your classroom? Are your classroom

Keep Music Education Strong!

Music education advocacy at your ďŹ ngertipsâ&#x20AC;&#x201D;access SupportMusic tools anytime, anywhere.

Itâ&#x20AC;&#x2122;s easy to get your hands on music education advocacy information using your smartphone.

Simply type www.nammfoundation.org into your phoneâ&#x20AC;&#x2122;s browser and connect to music research, SupportMusic Coalition updates and music education advocacy information that can help keep music education strong in your community.

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Southwestern Musician | May 2012 53

management skills top notch? We need you! I have heard a need for:

"

students who have autism spectrum disorders " " out a lot of time

music classroom If you can help shed some light on these points, complete a session proposal or recommend to me the name of a clinician who can shed some light on the topic.

Online clinic proposals opened April 1 and close June 1. Go to www.tmea.org/ clinicproposals. Texas has some of the best and brightest in the world of music education. Let me hear from you!

Apply to Perform at the 2013 TMEA Clinic/Convention The 2012 invited choirs and ensembles were outstanding! Seeing the variety of groups should reassure us that there is no one-size-fits-all formula to create outstanding performance groups. For 2013 choir selections, I will be listening for beautiful head voices, diction, and pitch matching. I am not tied to a traditional format when selecting ensembles. I will look for choirs and ensembles demonstrating a top-notch performance level. Send me a CD/DVD of your amazing group.

I would like to see a large selection from single schools, auditioned groups, district choirs, instrumental ensembles, and Orff ensembles. Donâ&#x20AC;&#x2122;t be shyâ&#x20AC;&#x201D;you can do it!

The deadline to apply is June 15. Go to www.tmea.org/elementaryapplication.

San Jacinto College North Summer Music Camps

Camp Dates: Jazz Camp - June 4-8 Band Camp - June 11-15 Piano Camp - June 18-22 Guitar Camp - June 25-29 Woodwind and Brass Camp - July 16-20 Each camp is Monday through Friday, 9 a.m. - 1 p.m.

Contact Info: Randy Snyder - Summer Camp Music Director and Fine Arts Department Chair 281-998-6150, ext. 7228 randy.snyder@sjcd.edu Connect with us on EOI

54 Southwestern Musician | May 2012

Important Dates Mayâ&#x20AC;&#x201D;Attend your spring Region meeting (see page 4 for details).

Mayâ&#x20AC;&#x201C;Juneâ&#x20AC;&#x201D;Renew your TMEA membership.

Mayâ&#x20AC;&#x201C;June 1â&#x20AC;&#x201D;Submit clinic proposals online for the 2013 convention.

June 15â&#x20AC;&#x201D;Postmark deadline for the 2013 TMEA convention elementary performing group applications.

June 30â&#x20AC;&#x201D;All TMEA memberships expire.

July 23â&#x20AC;&#x201C;26â&#x20AC;&#x201D;TCDA Convention in San Antonio.

February 13â&#x20AC;&#x201C;16, 2013â&#x20AC;&#x201D;TMEA Clinic/ Convention in San Antonio.

Music Education at Texas Tech 2012 Summer Graduate Coursework In Residence and/or Online Intensive Music Education Courses - as brief as 2 weeks (plus online component) For more information: Advising -

www.ttu.edu/music

Dr. Michael Stoune, Director, Graduate Studies michael.stoune@ttu.edu 806-742-2270 x255 Dr. Janice Killian, Chair, Music Education janice.killian@ttu.edu 806-742-2270 x264

SUMMER 2012 COURSES (all courses 3 credit hours)

Date June 4 - 15

Title

Instructor

Delivery

8am - Noon

Special Education in Music

Dr. Janice Killian

Residence or Online

8am - Noon

Styles in 19th & 20th Century Wind Literature

Dr. Peter Martens

Residence

1 - 5pm

Intro to Graduate Studies in Music Education

Dr. Keith Dye

Residence or Online

June 4 - Aug. 10

online

Technology Applications in Music Education: Advanced

Dr. Keith Dye

Online

June 10 - 22

8am-5pm

West Texas Kodaly Initiative (graduate credit available)

June 18 - 29

8am - Noon

Choral Conducting Workshop: Conducting as a Rehearsal Strategy

Dr. Carolyn Cruse

Residence

8am - Noon

Orchestra Directorsâ&#x20AC;&#x2122; Workshop

Dr. Bruce Wood

Residence

8am - Noon

Instrumental Conducting & Pedagogy

Dr. Sarah McKoin

Residence

1 - 5pm

Tests & Measurements

Dr. Janice Killian

Residence or Online

1 - 5pm

Harmony & Voice-leading with AP Primer

Dr. Peter Fischer

Residence

July 10 - 15

8am - 7pm

Band Directorsâ&#x20AC;&#x2122; Workshop Dr. Keith Dye (in conjunction w/ Band & Orchestra Camp, July 8-14)

July 10 - Aug. 10

online

Graduate History Review

Dr. Tom Cimarusti

Online

July 16 - 27

8am - Noon

Music and Learning

Dr. Keith Dye

Residence or Online

Residence

Residence

by Keith Dye

CollegeNotes

Critical reflection and next year t is that time of year again. â&#x20AC;&#x2122;Tis the season for assessment. In some form or fashion, for almost every member of TMEA, you are or have been involved in concert and sightreading contest, festival participation, standardized testing, auditions for next school year, traditional academic testing, juries, or yes, even concert performances.

Indeed assessment is prominent in our world. Even though we often focus on the least appealing aspect of assessment or our least favorite kind of assessment, all of these opportunities ultimately hold the potential for positive experiences in both student learning and our own professional pedagogical pursuits.

What is the role of assessment? This might be the most often asked question in education. I would assert that assessment is perhaps the most vital piece in our instructional process. It is the moment when we can honestly examine a snapshot of the results of our efforts. It is the moment we all have an opportunity to engage our deductive skills. It is the moment we can release our creative

I

thinking in planning for future instruction and events. It is the moment that, when executed properly, will ensure new or continued student and organizational successes, or when incorporated incorrectly, can result in a repetition of flawed instructional decisions. Assessment is an often brutal mirror which ultimately reflects the outcome of our efforts. The keys to reaping the benefits of assessment lie in our responses to two critical questions: (1) Am I being completely honest in my perception and evaluation of the results, and (2) Given the results and circumstances, what truly are the next, best steps to take?

Rethinking assessment was the theme of the March 2012 Music Educatorâ&#x20AC;&#x2122;s Journal.

I found this particular issue to be one of the most thought-provoking and resource-rich volumes in recent memory.

Of special interest were the thoughts of Sheila J. Scott (Associate Professor of Music Education at Brandon University in Manitoba, Canada) regarding the multiple roles of student assessment. Scott separates assessment into three distinct

Help yourself and your students by adopting a positive and productive outlook on how assessment can fuel the best of what you want for your students and programs.

56 Southwestern Musician | May 2012

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categories: Assessment of Learning, traditional evaluation which is done to the student; Assessment for Learning, constructed inquiry which is done for the student; and Assessment as Learning, self-reflective examination which is done by the student. I would contend that our ultimate goal is to lead students to greater self-awareness in their musical objectives, and that one of our major responsibilities is to reap the most information and benefit out of every assessment. It is within our power as educators to take any assessment and seize it as an opportunity for students to progress in development of their self-reflective skills. This is quite likely a role that each of us can seek to improve, through being intuitive to a greater extent in our deductions and by working to reach more students in additional meaningful ways. In short, we must lead our students to process properly the myriad of data we receive through all assessment.

How do we best use assessment data to enhance our professional lives? While it may not feel like it (given the mental and physical exhaustion at the end of an academic year), the design of our educational systems, which essentially come to

a conclusion followed by a resumption of activity after a brief respite, is ideal for the effective use of assessment. This period of conclusion and interlude should be embraced as an opportunity to critically reflect as a first step toward planning forward. The assessment information we have at our disposal at the conclusion of an academic year can be rich and informative. Set aside time to examine all this intelligence and immediately begin the creative thought and planning required to prepare for greater productivity, effectiveness, and success in the year ahead.

Consult with colleagues, mentors, and others and learn to find the pleasure that innovative and inspiring planning can bring. Above all, reflect and avoid repetition of the missteps that we all make and later regret. Help yourself and your students by adopting a positive and productive outlook on how, when considered with the right frame of mind, assessment can fuel the best of what you want for your students and programs.

Submit a Clinic Proposal TMEA provides opportunities for individuals to propose workshops and clinics and for companies to sponsor workshops

You’re the Experts— Share Your Story!

TMEA members are encouraged to submit articles on topics relevant to music education for future publication consideration.

Go to www.tmea.org/magazine for submission guidelines.

and clinics at our annual clinic/convention. All sponsored clinics are to be pedagogical in nature. Consider submitting a clinic proposal for the 2013 convention; the deadline for submission is June 1. Go to www.tmea.org/clinicproposals to submit a proposal.

College Division Fall Conference: Mark the Date On October 12, the TMEA College Division will hold its fall conference at the TMEA offices in Austin. I invite you to set aside the date and work to ensure a meaningful representation in attendance from your campus.

Finally, in the interim, I ask you to email me (keith.dye@ttu.edu) thoughts, ideas, questions, and concerns both for immediate consideration and for the agenda on October 12.

CTME Update One of my duties in this position is to serve as the TMEA advisor to the Collegiate Texas Music Educators. I encourage college students to contact the officers listed below with their concerns and all TMEA members to consider contacting your local college or university regarding the existence of an active CTME chapter and how they might gain experience in service to your program.

President: Nate Hutcherson, Baylor University President-Elect: Natalie Magana, UT/ San Antonio Vice-President: Ren Robertson, Baylor University Director of Operations and Finance: Christina Tannert, Trinity University Director of Communications and Public Relations: Janna Carroll, Dallas Baptist University Additional information about CTME can be found at www.ctmeweb.org.

Important Dates May—Attend your spring Region meeting (see page 4 for details).

May—Renew your TMEA membership.

May–June 1—Submit clinic proposals online for the 2013 convention.

June 30—All TMEA memberships expire.

October 12—College Division Fall Conference in Austin.

58 Southwestern Musician | May 2012

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