May 2015 Southwestern Musician

MAY 2015

20015 201 2015 Baylor Flute Seminar June 7-13

Summer Organ Institute June 7-13

High School Band and Orchestra Camp Band Grades 9-12/Orchestra Grades 10-12 June 14-20

Middle School Band and Orchestra Camp Grades 7-9 June 21-27

gre

Summer Piano Institute June 21-27

All-State Choral Music Camp July 7-11

13 FEATURES

May 2015 VOLUME 83 — ISSUE 9 On the cover: Dee Dee Meza-Mills, music teacher at Hidden Lakes Elementary (Keller ISD), performs with the Zimma-Rimba Music Teachers during the 2015 TMEA Clinic/Convention. Photo by Karen Cross.

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

by Keith Dye

13

Legislative Update TMEA leaders are actively monitoring legislation that could affect music education and they continue to seek opportunities to improve students’ access to explore their passions.

BY ROBERT FLOYD

22

TEKS Revisions: What Every Music Teacher Needs to Know As of this August and the 2015–2016 school year, revised music TEKS (that teachers are required by law to cover) will be in effect.

Learn more and be prepared to do your part.

27

Put Your Best Foot Forward

38

Realignment Status Report

41

Accentuate the Positive

Are you looking for a job? If so, read what veteran music educators expect when they review résumés and interview candidates for music teaching positions.

Following another work session on potential realignment, the Executive Board offers a status report on this ongoing project. /HDUQ KRZ XVLQJ VSHFLÀF SRVLWLYH IHHGEDFN FDQ RIIHU LPPHGLDWH and lasting results for all.

BY RUSSELL GAVIN

Executive Director’s Notes..................... 9

by Robert Floyd Band Notes .............................................................15

by Andy Sealy Orchestra Notes ...............................................32

by Penny Meitz

52

Tutti Get great ideas for end-of-year lessons that keep students engaged and learning and other ideas for end-of-year traditions to KHOS \RXU VWXGHQWV UHÁHFW RQ WKHLU VXFFHVVHV

UPDATES

Vocal Notes ............................................................47

by Robert Horton

Attend Your Spring Region Meeting ..............................................................2

Elementary Notes ...........................................56

by Juli Salzman

Submit a Proposal for the 2016 TMEA Clinic/Convention ..........................8

You Deserve a Standing Ovation! .................................................................3

Thank You, Southwestern Musician Advertisers ...................................... 31

College Notes ......................................................61

by Michele Henry

To Our Graduating College Seniors ............................................................ 63 Southwestern Musician | May 2015

1

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

Attend Your Spring Region Meeting

Managing Editor: Karen Cross

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

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

President-Elect: Dinah Menger d.menger@sbcglobal.net 1305 Westcrest Drive, Arlington, 76013 817-891-1095 – Baylor University

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

Band Vice-President: Andy Sealy sealya@lisd.net 4207 Plano Parkway, Carrollton, 75010 469-948-3011 – Hebron HS

Orchestra Vice-President: Penny Meitz

Get involved and stay informed by attending your Region meetings.

Region Date

Time

Location

1

May 16

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

Amarillo HS Cafeteria

2

May 16

10 a.m.

Decatur HS

3

May 16

10 a.m.

Lake Highlands HS

4

May 15

5 p.m.

Mt. Pleasant HS

5

May 3

2 p.m.

Lamar HS

6

April 25

10 a.m.

Permian HS

7

April 25

1 p.m.

Stephenville HS Auditorium

8

May 2

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

Midway ISD PAC

9

May 9

9 a.m.

Conroe HS

10

May 4

6:30 p.m.

Lamar Univ. Band Hall

SMPHLW]#PDF FRP 5407 Coral Gables Drive, Houston, 77069 281-468-2593 – St. John’s School

11

May 16

12 p.m.

John Jay HS, San Antonio

12

May 3

2:30 p.m.

Madison HS, San Antonio

Vocal Vice-President: Robert Horton

13

May 3

2 p.m.

George Ranch HS

14

May 16

10 a.m., 9:30 a.m. coffee

Del Mar College

15

April 26

2 p.m.

UTPA

16

May 4

5 p.m., 4 p.m. Str. Cmt.

Post HS

rhorton@conroeisd.net 6101 Research Forest Drive, The Woodlands, 77381 936-709-1200 – The Woodlands HS

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

17

May 16

9:30 a.m.

Clear Falls HS

michele_henry@baylor.edu 1 Bear Place Unit 97408, Waco, 76798 254-644-0150 – Baylor University

18

April 25

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

Anderson HS PAC

19

May 2

10 a.m.

San Jacinto College North

TMEA Staff

20

May 16

9 a.m.

Greiner MS, Dallas

21

May 9

10 a.m.

Jacksonville HS

22

May 18

7 p.m.

6:30 p.m. UIL mtg

UTEP

23

May 9

9 a.m.

8:30 a.m., food

Davis HS, Houston ISD

College Vice-President: Michele Henry

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

24

May 16

10 a.m.

Newman Smith HS

25

May 30

10 a.m.

Plano East SH

26

April 28

6 p.m.

Vista Ridge HS

70($ 2IĂ€FH

27

May 16

9 a.m.

Cypress Creek HS

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

28

May 16

10 a.m.

Harlingen HS Band Hall

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

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

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Southwestern Musician | May 2015

You Deserve a Standing Ovation!

Thank you for everything you do to ensure all students receive a high-quality music education! We hope you have a wonderful end of the school year and a restful and restorative summer break!

—TMEA Executive Board & Staff Buzzy@rhythmbee.com

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Southwestern Musician | May 2015

3

To Schedule your event & Save Your Parents thousands Contact Paul at 800.537.1987 or paul@allegroapparel.com

The most powerful people I know B Y

K E I T H

D Y E

M

ost of us end up with no more than five or six people who remember us. Teachers have thousands of people who remember them for the rest of their lives. —Andy Rooney As most of you are busy wrapping up the current school year and perhaps already looking forward to the next, it is appropriate to reflect on how important you are in the lives of so many. We often get so close to the tasks at hand that we fail to allow ourselves the pleasure of stepping back, taking in our world, and finding perspective through deep personal reflection.

As I’m sure you experienced, I had many teacher influences during my school years who affected me in ways both great and small. As I reflect on who and what guided and altered me, I find so many of my experiences were grounded in musical events. I vividly remember being a fourth grader in the fall of 1965 singing as part of an elementary choir at a PTA meeting. Our music teacher, Mrs. Loretta Brooks, had blessed us by choosing a culturally cutting edge program of songs from Mary Poppins. At the time I believed our performances were authentic and precise and at least as good as, if not better than, those in the movie. The endorphin rush I felt during the performance was like nothing I had ever experienced. It seemed like we performed for thousands, even though it was likely at best a couple of hundred, and their applause only amplified the emotions. Whatever that feeling was I experienced, I was hooked.

I also recall my sixth-grade teacher, Mrs. Mary Wilbur, who with her husband was part of a folk duo who performed professionally around our city. I most distinctly remember that she drove a Triumph convertible and that at least once a week she would pull out her guitar and sing music made famous by Peter, Paul and Mary, Pete Seeger, Bob Dylan, or other folk artists. In my mind she led such an incredible life. How amazing to live life seemingly fully immersed in

0RVW RI XV HQG XS ZLWK QR PRUH WKDQ ÀYH RU six people who remember us. Teachers have thousands of people who remember them for the rest of their lives. —Andy Rooney

PRESIDENT’S NOTES IMPORTANT DATES May—Attend your spring Region meeting (see page 2 for details).

May—Online TMEA membership renewal available.

May 1—Texas Music Scholar application materials postmark deadline.

June 1—Deadline to submit proposals online for the 2016 TMEA convention (see page 8 for details).

June 30—All TMEA memberships expire.

July 23–26—TBA/TCDA/TODA Conventions in San Antonio.

August 20—Liability insurance purchased through TMEA expires.

February 10–13, 2016—TMEA Clinic/ Convention in San Antonio.

Southwestern Musician | May 2015

5

the culture of that time through musical performance.

A year later I had become an aspiring seventh-grade trombonist. Mr. Mickey Lockner, our junior high band director, made such an impression on me in the way he dressed and spoke. He always wore wide colorful ties and loud fluorescent shirts with oversized cuffs and collars and regularly referred to various band members as “cats.” He was a saxophonist and shared with us that he often performed in our community in both combo and big band settings.

For the school talent show, Mr. Lockner organized an ensemble of five of my friends and me to play—what else but—Herb Albert’s “Tijuana Taxi.” We wore large sombreros and striped ponchos (not easy to come by in Sioux City, Iowa). A friend, playing a white fiberglass sousaphone, added a crucial, unexpected visual effect by taping crossed eyes and an extended tongue on its bell. It should come as no surprise that, in my mind, we were the hit of the entire event. And in that performance, I once again experienced those same feelings, stronger than ever! If you’d asked that 12-year-old me, we were a very important part of the local music scene of 1969!

Of course all this was followed by high school and the guidance of my director, Mr. Robert Brooks, who had also been my trombone instructor since seventh grade.

Mr. Brooks was married to my elementary music teacher, and the Brooks family was probably the single most influential force on my life at that time.

I was in awe of the fact that these two people appeared to be doing what they loved most in life day in and day out. I witnessed such passion in the way they taught and interacted with students and the community. I felt the respect my parents and others had for them. I was reverent of the expertise and dedication they had to their musical craft. I marveled at how they led large groups of young people to exhibit their best efforts in public performances. I was envious of the way the line between their work and personal life seemed invisible, such a contrast to my parents. To me it seemed they were always doing what they loved and they were making a living while doing so. I aspired to have that life, and while my life in retrospect doesn’t truly parallel theirs, I’ve absolutely had the blessings of everything I admired about the quality of their profession, now my profession.

I would wager that most of you have similar tales of inspiration, performances that shook your soul, and teachers who imparted powerful messages through their guidance. How often do you step back to consider that you are now the teacher with that sphere of influence?

Whether you are in your 20s and just finishing your first year, a bit older and on the precipice of retirement, or somewhere in between, I am absolutely certain you have left a powerful imprint on students and others around you. We teachers are certainly too involved and busy most of the time to notice the preponderance of the good we do. We often spend our time stressing over what could have been and fail-

Have a Story to Share?

Many of our best feature articles are written by TMEA members like you.

Perhaps you have developed an effective teaching method, discovered a new technology that helps make your work more efficient, or have been successful in building administrator and community support. Whatever your areas of success, SOUTHWESTERN MUSICIAN provides a venue for sharing your ideas with your colleagues around the state.

For magazine submission guidelines, go to www.tmea.org/magazine.

6

Southwestern Musician | May 2015

ing to acknowledge what was. Consider the following examples. I’m sure each of you can think of countless incidents over this past year when your behaviors have fostered these kinds of positive results: • The students who come to school, but perhaps wouldn’t, because they don’t want to miss your class/ rehearsal • The students who don’t drop out because you took the time to provide individual attention and guidance to them • The students who feel better about themselves because of the success they experience in your class • The students who find new friends who positively influence their lives because they worked together as a part of your class • The students whose parents see them in a different, more positive light because of the accomplishments you facilitate • The students who become lifelong friends even though their backgrounds are diverse because they worked closely together in your class • The pride community members feel in the work you do with their children • And many more . . .

As teachers of music, you without question are the most powerful people I know! As this school year ends, I hope you feel appreciated, but more importantly I hope you feel a sense of accomplishment and purpose. The greatest things we do are probably not the results of contests, festivals, and the like. They are the personal moments we share with each of our students—the moments we create by just being ourselves, lovers of music and music-making. These moments contribute to how our students see themselves, now and in the future. As I reflectively thank some of the teachers who shaped my life choices, I also know each of us has influenced thousands in ways beyond what we intended or believed was possible. On behalf of all those, you are to be thanked!

2016 TMEA Convention Clinic & Showcase Proposals: Due by June 1 W W W.TME A.ORG/CLINICPROPOSALS

PROPOSAL TYPES CLINICS: The 2016 TMEA Clinic/Convention will feature approximately 300 clinics for current and future music educators—over 70 of these will focus on technology integration as part of the 2016 TI:ME Music Technology National Conference.

MUSIC SHOWCASES: Small acoustic music groups can apply to perform music showcases in open areas of the center.

WHAT ATTENDEES WANT Convention attendees report they want to attend clinics on the following topics (listed in priority order). The Executive Board will review clinic proposals with this priority in mind:

HOW DO I SUBMIT? 1. Work on a meaningful title, concise and accurate description, and thorough details of how you will present this topic and who your intended audience is.

2. Create a 1–2 page PDF handout summary of the information you will present.

3. Ask co-presenters for their TMEA member IDs, if applicable.

You will need to enter their member ID# when you propose online.

4. Go to www.tmea.org/clinicproposals and submit your proposal. If your presence will be funded by a convention exhibitor, select Industry Sponsored as the clinic type.

8

Southwestern Musician | May 2015

• • • • • • • • • • •

Rehearsal techniques Teaching methods Classroom management Technology solutions (for use in the music classroom or rehearsal) Repertoire selection Instrument methods Recruiting/Retention Elementary general music methods Urban/Rural challenges & solutions Conducting techniques Special needs instruction

Convention center expansion update B Y

R O B E R T

F L O Y D

T

hose of you who attended the convention the past two years have persevered through the inconveniences of the Henry B. Gonzalez Convention Center expansion. Considering the magnitude of the project, disruption to our meeting has been minimal. While President Keith Dye shared in his April column a brief announcement that we would move into the expanded center in 2016, we have otherwise offered very little about the scope and details of the project because we had not anticipated moving into the new facilities until February of 2017. However, with the project ahead of schedule and under budget, center management continues to assure us they will receive the keys to the new space December 1 of this year, placing us in the new facility a full year ahead of planned move-in.

The $325 million transformation of the Henry B. Gonzalez Convention Center will ensure that San Antonio has the type of world-class convention facilities that can attract business and travelers to the city for decades to come.

When the new facility is open, the oldest portion of the current convention center (the structure across the river from Lila Cockrell Theater extending toward Alamo Street) will be demolished, enabling Hemisfair Park to become a vibrant mixed-use area centered on the park.

The new Hemisfair Park is being defined as an urban oasis. Existing parkland will be expanded to a minimum of 18 acres and be drastically improved in quality. The park will offer open plazas, green space, interactive fountains, courtyards, pedestrian friendly avenues, and lively public art. Historic homes will be brought back to life with inviting uses such as cafes and bookstores.

New parking opportunities will be created underground, and the area will be wrapped with residential, commercial, and civic uses. Hemisfair will reconnect the surrounding neighborhoods, strengthen the local community, and become San Antonio’s iconic gathering place. It should be duly noted that demolition of the old center and development of the park will begin after our 2016 convention.

So what exciting changes can convention attendees anticipate next February?

The official entrance to the facility will be located just east of the Grand Hyatt parking garage, facing Market Street. While almost all the meeting space we currently utilize on the 200 level will be retained, the exhibits and additional meeting space to replace the old, original part of the center will be located closer to I-37 toward the Alamodome. Our new exhibit hall will be contiguous, in one

With the project ahead of schedule and under budget, our 2016 convention should be in the newly expanded facility.

EXECUTIVE DIRECTOR’S NOTES IMPORTANT DATES May—Attend your spring Region meeting (see page 2 for details).

May—Online TMEA membership renewal available.

May 1—Texas Music Scholar application materials postmark deadline.

June 1—Deadline to submit proposals online for the 2016 TMEA convention (see page 8 for details).

June 30—All TMEA memberships expire.

July 23–26—TBA/TCDA/TODA Conventions in San Antonio.

August 20—Liability insurance purchased through TMEA expires.

February 10–13, 2016—TMEA Clinic/ Convention in San Antonio.

Southwestern Musician | May 2015

9

The University of Texas at San Antonio Department of Music presents:

2015 SUMMER MUSIC CAMPS & WORKSHOPS

Performing Arts Camp

Dalcroze

Flute Camp

Eurhythmics

Middle School Band Camp

(Grades 3-8 Only)

June 22-26 (High School Only)

June 15—19

Summer Music Institute

July 5—8

June 15—19 June 8-12 & 15-19

Choir Camp

June 22—26

July 20—24

hall with no columns. No longer will we have to turn away exhibiting companies due to lack of space, and the additional square footage will allow us to explore options for a more flexible hall design.

Our staff is working to determine how we maximize use of the new facilities and in particular what new spaces will replace Ballrooms A and B. In light of the fact that a cornerstone of the expansion is a 54,678-square-foot ballroom on the third level, realizing the most efficient functionality of that space will be a critical piece of the plan.

Five years ago, when this project became a reality, the TMEA Executive Board had the foresight to secure both ballroom levels in the Grand Hyatt beginning in 2016, where we previously have utilized only one. Having this additional ballroom space available to us will prove to be a wonderful resource in meeting each division’s large meeting space needs.

Preliminary drafts of space allocation provide each division with more seating than available in 2015. An additional benefit for members is that to negotiate this space we agreed to increase our Grand Hyatt housing block from 600 to 800 rooms, thus

Rendering of the convention center entrance, east of the Grand Hyatt parking garage. allowing more members and exhibitors to membership, which includes convention secure Grand Hyatt housing if that is their registration, by $5. Exhibit hall booth first preference. rental fees will remain unchanged in light In anticipation of the expansion and of the fact that our sustaining members unknown operating costs that might arise, have experienced increases in recent years. the Executive Board voted in January to increase convention preregistration and Online Membership and Registration on-site registration fees for active memOur goal is to have our online members by $10 and for retired members by $5. bership system available no later than This increase represents our first convenMay 15. We encourage you to take this tion registration increase in fifteen years. early opportunity to renew and preregisOut-of-state fees will increase by $60. In ter for the 2016 Clinic/Convention. If you addition, the State Board at its February have 2014–15 budget dollars available, this meeting voted to raise the college student is a great use of them.

SMU MEADOWS SCHOOL OF THE ARTS OFFERS: •

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

•

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

•

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

•

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

VISIT US MEADOWS.SMU.EDU CONTACT US MUSIC@SMU.EDU OR 214.768.3680

Southwestern Musician | May 2015 11

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LEGISLATIVE UPDATE

by Robert Floyd

I

n late fall when I wrote about the upcoming 84th legislative session, I stated a very simple goal—protect our successes of the 83rd session and don’t lose ground. HB 5, as you recall, was the legislation signed into law in June of 2013 that created the Foundation School Program, the new graduation plan based on allowing students to follow their passion and pursue their interests throughout high school. Moving forward with current ninth graders, our students now have more flexibility to follow such a path than in any graduation program that has preceded it.

Working closely with the bill drafters at the capitol as well as other education nonprofits, we were able to address every challenge that might have limited such flexibility for the serious fine arts student. In addition, as the State Board of Education developed the rules to implement the new graduation program, we worked closely with members to make sure their rules not only supported the Arts and Humanities endorsement but also protected arts participation throughout high school for students pursuing another endorsement area of interest such as STEM. An added bonus in HB 5 was the inclusion of language limiting pull-out from our classrooms for test preparation and remediation. While not perfect, it was a positive step forward sharing the legislative intent that such practice was educationally flawed.

When an expansive piece of legislation is passed that addresses a major area such as education, the prevailing philosophy is that the author gives it a chance to be fully implemented and does not begin to tweak it the very next session except for minor cleanup.

As a result, there will be very few changes in education law during this 84th session, and that is a good thing.

So what issues or bills are we monitoring that could have either a positive or negative impact on our students and programs?

• One update to HB 5 includes clarification language on the Performance Acknowledgements that a student may earn for their transcript. Most PAs are tied to standardized test scores such as AP and IB as well as achieving defined biliteracy thresholds. We are having conversations with bill author Representative Jimmie Don Aycock’s staff on including a juried recital or performance as a basis for a Performance Acknowledgement. This option would be similar to what students may pursue to earn an advanced measure for the current Distinguished Achievement High School Program.

• We continue to move forward with a plan to remove UIL

Concert and Sightreading Evaluation from the requirements and confines of No Pass No Play. One House bill moving through the process requests a waiver of No Pass No Play for a another subject area, and we are exploring options to partner with that bill author to include our request. We are also continuing dialogue with the Commissioner of Education’s office to request such a waiver through the Commissioner’s Rules.

• We are closely monitoring two bills that could create new course requirements at the middle school level. One would increase the physical activity requirement from four to six semesters in grades 6–8, and another could trigger a course in grades 7–8 for career exploration and education on the Foundation School Program and its options for high school study. The first bill quite possibly will not get a hearing, being an unfunded mandate. The latter bill allows a district to meet such requirements without creating a class for such purposes. If this bill passes, it will be incumbent upon you to educate your administration on why adding yet another middle school course requirement would be detrimental to your program and more importantly to your students.

• In early March we were finally able to get a draft from the Legislative Council on language to eliminate the bifurcation of the required curriculum into foundation and enrichment subjects. By the time Representative Marsha Farney (R-Georgetown), received the draft, the deadline was too close to file as a bill. We are continuing to look at vehicles to which such language might be attached, but minimally we have begun the dialogue at the capitol on such a change. After living with this language for 21 years, the arguments to “tear down the wall” between the curriculum haves and have-nots are compelling. It is a journey, but truly one worth taking.

• Finally, at its April 15–16 meeting, the State Board of Education Committee on Instruction reviewed rules defining what school districts must offer in middle school as a part of a required curriculum based on the new TEKS. We are currently communicating with members of that committee to ensure we do not lose ground.

We will continue to carefully monitor activity at the capitol throughout the end of May. If we need you to assist with a call to your legislators’ offices, we will let you know via email.

Southwestern Musician | May 2015 13

Graduate Studies in Music Education Summer 2015 Maymester: May 12 - May 27 The Arts in China: Travel to Chengdu China MUED 5344.001 Dr. Janice Killian 8 AM – 5 PM (L)

June 2 - August 5 Applications of Technology in Music I MUSI 5342.D Dr. Keith Dye Distance Only (asynchronous) (O)

June 8 - 19 Learning and Music MUED 5332.001 Dr. Keith Dye 8 AM – Noon (L/V) From Classroom to Choir: Repertoire & Techniques for Young Choirs MUED 5344.002 Dr. Susan Brumfield 8 AM – Noon (L)

June 22 - July 3 Harmony & Voice Leading with AP Primer MUTH 5300 Dr. Peter Fischer 8 AM – Noon (L) Globalization & Music Education: Incorporating World Music MUED 5344.003 Dr. Jacqueline Henninger 8 AM – noon (L) Topics in Band Music Education: Repertoire and Trends MUED 5325.001 Dr. Eric Allen 1 PM – 5 PM (L/V) Tests & Measurements MUED 5333.001 Dr. Janice Killian 1 PM – 5 PM (L/V)

July 7 - 12

Current Issues in Music Education MUSI 5307.001 Dr. Janice Killian 1 PM – 5 PM (L/V)

Topics in Band Music Education: Fundamentals at All Levels MUED 5327.001 Dr. Keith Dye 8 AM – 8 PM (L/V)

Band Conducting Methods III: Band Strategies & Techniques MUAP 5310.001 Dr. Eric Allen 1 PM – 5 PM (L)

International Music Education MUED 5344.004 Dr. Janice Killian 8 AM – 5 PM (L/V)

July 7 - August 7 Symphonic Literature MUHL 5311.D Dr. Thomas Cimarusti Distance Only (asynchronous) (O) Masterpieces of Western Music MUHL 5320.D Dr. Thomas Cimarusti Distance Only (asynchronous) (O) Graduate History Review MUHL 5300.D Dr. Stacey Jocoy Distance Only (asynchronous) (O)

July 13 - 17, 27 - 31 Foundations in Music Education MUED 5340.001 Dr. Keith Dye 8 AM – Noon (L/V) Styles in Wind Literature MUTH 5320.001 Dr. Peter Martens 1 PM – 5 PM (L/V)

July 13 - 21 Choral Conducting Methods: Conducting as a Rehearsal Technique MUAP 5308.001 Dr. Carolyn Cruse 1 PM – 5 PM (L)

L = Live V = Videoconference O = Online

Intensive Music Education Courses as Brief as 2 Weeks

(plus online components)

For more information, visit www.music.ttu.edu, or contact: Dr. Michael Stoune, Director, Graduate Studies

michael.stoune@ttu.edu

(806) 834-5160

Dr. Janice Killian, Chair, Music Education

janice.killian@ttu.edu

(806) 834-2010

Emily Gifford, School of Music Graduate Admissions

emily.gifford@ttu.edu

(806) 834-5076

Tuition scholarships available for new MME students. For details, email keith.dye@ttu.edu.

BAND NOTES 7LPH WR WDNH D VHOĂ&#x20AC;H B Y

A N D Y

S E A L Y

M

y students seem obsessed with taking selfies.

No moment is too small, too big, or too sacred to be recorded and shared with the known universe. Subsequently, Iâ&#x20AC;&#x2122;ve been determined to photobomb as many as possibleâ&#x20AC;&#x201D;resulting in at least one strained muscle after attempting a jump that should be left to teenagers. Nonetheless, the collection of your studentsâ&#x20AC;&#x2122; selfies can tell you a lot about what they value about the program and the fellowship with their band family. This is a great time of year to get your staff and student leadership team together and take a virtual selfie of your band program.

A great place to start is your programâ&#x20AC;&#x2122;s digital presence. Fifteen years ago we were just beginning to talk about creating and maintaining relevant websites for our band programs. Now the norm is not only having media-rich websites complete with Google calendars, PayPal, and all manner of active links, but also having a significant social media presence with Twitter accounts, Facebook pages, Pinterest, and more. You or someone on the staff should monitor and maintain these portals frequently. Take a careful and objective look at your program through as many digital sources as possible. Is the information current, relevant, positive, and presented in a succinct manner? If you had no previous experience with the band program, what would your online first impression be? As you evaluate your use of social media and other digital communications, read â&#x20AC;&#x153;What You Should Know Before You Post,â&#x20AC;? available in the SOUTHWESTERN MUSICIAN archives (and linked from www.tmea.org/socialmediarules).

While different times of the school year require various instructional focuses, when viewed as a \HDUORQJ FXUULFXOXP \RXU SURJUDP VKRXOG UHĂ HFW a purposeful balance between developing the individual musician and ensemble skills.

IMPORTANT DATES Mayâ&#x20AC;&#x201D;Renew your TMEA membership.

Mayâ&#x20AC;&#x201D;Attend your spring Region meeting (see page 2 for details).

May 1â&#x20AC;&#x201D;Texas Music Scholar application materials postmark deadline.

May 15â&#x20AC;&#x201D;Invited high school jazz ensemble application postmark deadline.

June 1â&#x20AC;&#x201D;Deadline to submit proposals online for the 2016 TMEA convention (see page 8 for details).

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 22â&#x20AC;&#x201D;TMEA training for Region and Area Band Chairs in San Antonio.

July 23â&#x20AC;&#x201C;26â&#x20AC;&#x201D;TBA convention in San Antonio.

August 1â&#x20AC;&#x201D;Deadline for waivers to the audition process to be received at TMEA headquarters.

August 20â&#x20AC;&#x201D;Liability insurance purchased through TMEA expires.

February 10â&#x20AC;&#x201C;13, 2016â&#x20AC;&#x201D;TMEA Clinic/ Convention in San Antonio.

Southwestern Musician | May 2015 15

This July 9-11, Join Pender’s Music Co. For

A highly motivational 3-day choral event Lewisville Convention Center at the Hilton Garden Inn 785 SH 121 • Lewisville, TX Thursday, July 9

Friday, July 10

Pender’s Sing-a-bration

Hal Leonard Joy of Singing

CLINICIANS: Greg Gilpin, Shawnee Press

CLINICIANS: John Jacobson • Roger Emerson

Andy Beck, Alfred Music Publishing

Mac Huff • Laura Farnell • Rollo Dilworth

Douglas Wagner, Heritage Music Press Elementary: General Music & Beginning Choir $55 Secondary: Middle School, High School, Beyond $55

Elementary: Classroom & Beginning Choir $55 Secondary: Middle School, High School, Beyond $55

Saturday, July 11

Joy of Worship & Pender’s Sacred Choral Session (These two sessions are presented together)

CLINICIANS: Joseph Martin • Brad Nix

ALL ATTENDEES RECEIVE: • Morning coffee & light lunch • Complimentary music packets* • 10% discount on all items purchased at workshop

Patti Drennan Review the best new church chorals for adult choir $55

Saturday, July 11

Hal Leonard John Jacobson Workshop CLINICIANS: John Jacobson • Laura Farnell Choral music teachers at all levels $60 Student (no music packet) $50

*Music packets of most of the music presented.

Prices and workshop details subject to change.

Registration now open at www.penders.com/sing2015

WWW.PENDERS.COM

314 South Elm Denton, TX 76201 Denton Area: 940-382-7124

2650 Midway Rd, Ste 230 Carrollton, TX 75006 DFW Metro: 972-818-1333

Toll-Free: 800-772-5918

Toll-Free: 866-589-0751

is no off-season for our students. More importantly, as educators we must find ways to ensure these skill sets develop methodically and are readily transferable from the audition room, to the chamber ensemble, to the practice field, and back again. We must help our students see the crossover benefits from activity to activity and look to create additional or nontraditional musical events allowing students to demonstrate their skills.

Increasingly, students and parents— and maybe even more importantly, future students and parents—evaluate your program strictly through digital lenses. They expect your website to be as slick and easy to navigate as an online retailer, and they will become frustrated without accurate information or prompt responses. Your program’s digital identity creates a relationship with stakeholders long before you or your staff can establish any level of personal relationship.

Another terrific way to take a programwide selfie is by looking at the weighting of musical offerings in your program.

Successful, well-rounded band programs work hard to strike a balance between large ensemble activities such as marching band and concert band and individual or small group activities like AllRegion Band, solo and ensemble, or jazz ensemble.

While different times of the school year require various instructional focuses, when viewed as a yearlong curriculum, your program should reflect a purposeful balance between developing the individual musician and ensemble skills. There

Hans Kloppert

Honor Band Participants As your UIL contest season wraps up and you begin putting the final touches on your Honor Band entry selections, please be mindful of the competition rules, procedures, and guidelines found online at www.tmea.org/honorbandrules.

Understand and adhere not only to the competition rules but also to the spirit and purpose with which the honor band process is intended. Please be conscientious of your students’ time and energy, and model ethical practices with regard to scheduling and recording. Our rules address several scenarios that involve ethical recording practices, but not every

possible situation is represented. When in doubt, ask.

Be thorough in completing the entry process by affixing all necessary signatures, completing the clinician document, checking all CDs for completion, and making sure your contest scores have no identifying markings on the cover or within the score. The tabulation program will not upload your entry unless the online documentation is complete.

Should you choose to withdraw your entry please do so in writing as prescribed in the rules and contact your Region Band Chair. As the listening sessions progress and the tabulation file has been uploaded to TMEA, make sure your result is accurately reflected on the website. The results webpage will indicate when a group is advancing from Region to Area and Area to State.

Area Honor Band listening sessions are June 25–26. At each listening center, judging panels will adjudicate the same classification for all Areas on consecutive days.

Adjudication panels and Area Host/Chair information may be found on the Honor Band Competition and Rules webpage

TEXAS A&M UNIVERSITY-COMMERCE and

THE BLUE DEVILS DRUM AND BUGLE CORPS Partners in Music Education

SUMMER MUSIC CAMP SERIES 2015 June 14 – 18

Leadership Camp Drum Major Camp Colorguard Camp Directors Symposium Featuring Frank Troyka and staff members from the 16-Time DCI World Champion Blue Devils!

tamuc.edu/music

systemblue.org

Southwestern Musician | May 2015 17

found under the Band Division menu.

Thanks in advance to the chairs, hosts, and judges for their service to TMEA in the Honor Band process.

The State Honor Band listening session will be on July 23 in conjunction with the first day of the Texas Bandmasters Convention in San Antonio.

Spring Region Meetings By this point in the semester, the cycle of annual spring Region meetings is well underway. Please make it a point to attend this important meeting and to get involved on the local level and let your voice be heard on the important topics addressed in the meetings. As youâ&#x20AC;&#x2122;ll read on page 38 in this issue, updates on the realignment project will be offered at those meetings and it is also the venue where you can offer feedback.

high school jazz ensemble is May 15.

For additional information, submission criteria, and the application, go to www.tmea.org/jazzapplication.

2016 Convention Proposals The window for submitting clinic proposals for the 2016 TMEA Convention/ Clinic closes June 1. All clinic proposals are submitted online and should include complete, thorough information regarding all materials to be presented and the intended target audience. Keep in mind that based on responses from band directors attending the 2015 convention, the most important topics for clinics were rehearsal techniques, instrumental pedagogy, and instructional methods. Go to www.tmea.org/clinicproposals for detailed instructions on applying and to start your proposal. Before you begin,

take time outside of that online application to thoroughly document your clinic.

The more complete a proposal is, the more weight it will receive in its review by the Executive Board. Attendees have been very clear about their desire for relevant topics on strategies that can be implemented the day they return to the classroom, and the Board wants to be able to offer that to everyone.

Prepare to Teach the Revised TEKS Revised TEKS are in effect starting with the 2015â&#x20AC;&#x201C;2016 school year. We are all required by law to cover 100% of the music TEKS as they apply to our grades/ levels. Read the information and answers to frequently asked questions about the TEKS revisions and the requirement to teach them on page 22.

Invited High School Jazz Ensemble Application The postmark deadline for the submission of applications and supporting materials to perform at the 2016 TMEA Clinic/Convention as the invited

www.printmusicsource.com

CONCERT BAND High School & Middle School S

PERCUSSION Symphonic, Marching & Latin

SASi Drum Major, Leadership & Color Guard

Southwestern Musician | May 2015 19

www.tcda.net

54th Annual Convention www.todaweb.org

Susan LaBarr

512/474-2801

Highlights • Professor, Conductor David Becker, Director of Orchestral Studies at Texas Tech University, presents clinics on the Fundamentals of Conducting and Score Study Preparation David Becker

Kirt Mosier

• Kirt Mosier, composer and accomplished orchestra director at Lee’s Summit High School and Pleasant Lea Junior High School in Missouri, presents open discussion on Classroom Management and Rehearsal Pacing, Motivational Techniques and Secrets for all Performance Ensemble Directors, and Rehearsal Labs • FJH composer and writer Carrie Lane Gruselle from the Lawrence University

Academy of Music offers clinics on Making a Musical Moment, Engaging Beginning String Students, and This Piece Rocks!

• Other clinicians include Ian Edlund, Kathryn Woodard, Casey Newman, Deborah Perkins, Gene Williams, Douglas Bakenhus, Ellen Townley and Brendan Townsend • TODA HS Day features Charlotte Moellering – PM Session; • Don’t Miss Fiesta Welcome and TODA BBQ!

Carrie Lane Gruselle

Combined Exhibit Hall

• MS/JH Honor Choir with Andrea Ramsey • Directors Chorus with Sandra Snow • Performances by Texas Master Chorale and The Corpus Christi Cathedral Choir • Commissioned works Dominick DiOrio

by Dominick DiOrio and Susan LaBarr • 40+ workshops, reading sessions and performances • 60th Anniversary Party • Special Performance by Home Free!

in the

New Teacher Academy High School Student Leadership Day with Jeremy Spicer presenting techniques and team-building activities; Encore Sing-In Concert of Schubert’s Mass in G World Class Clinics and CPE Credits First-Year Teacher Discount Daily Drawings for Prizes Fun Run Kicks off Convention Golf Tournament

Highlights

Exhibitor Booths

Why Choral and Orchestra Directors Should Attend

512/474-2801

650+

Texas Choral Directors Association

60th Annual Convention

68th Annual Convention/Clinic Online Registration and Information www.texasbandmasters.org

Performances

60+ Clinics San Antonio, Texas

Henry B. Gonzalez Center

July 23–26

• Boston Brass • Air Force Band of the West – Captain Rafael Toro-Quiñones, conductor • Carrollton Wind Symphony – Jim McDaniel, conductor • El Paso Wind Symphony – Ron Hufstader, conductor • Lone Star Symphonic Band – Bob Bryant, conductor • Naperville Municipal Band – Ron Keller, René Rosas, conductors • The Woodlands Concert Band – Paul Worosello, conductor • Phi Beta Mu Band and 323rd Army Band Reading Sessions Clinics

• James F. Keene – Featured Clinician James F. Keene • Mark Camphouse – Featured Composer • Dr. Tim Lautzenheiser, Fran Kick, Frank Ticheli, Richard Floyd, Matthew McInturf, Dennis Fisher, Brian Gibbs, Don Haynes, Dan Gibbs, Kathy Johnson, and many others

Middle School Clinics • Producing a Successful MS Band – Amy Allison with Canyon Ridge MS Band • Ready for UIL? – John Benzer with NEISD Demo Band • Developing MS Ensemble Sound – Ryan Johnstone • Trombone 101 – Dan Black with The Woodlands Area Trombones • Successful MS Jazz Band – Nick Flood and Raul Chavira with Indian Ridge Jazz Band • Beginner Band Clinics – Oboe-Sally Bohls; Bassoon-Jennifer Auerbach; Saxophone-Damian Gonzalez, Manuel San Luis, Carter Matschek; Trombone-Jon Bohls; Percussion-Mark Teal • Additional clinics and panels focused on developing your middle school band

High School Clinics • Marching Clinics – Hebron HS Band, Colorguard, and Drumline – Andy Sealy; Princeton HS Band – Brandon Brewer; Military Marching Band Clinic • Jazz Clinics – Phil Alvarado with Rowlett HS Jazz Band; Rowland Sandoval with O’Connor HS Jazz Combos; Jazz Drum Set Clinic-Steve Fidyk; Teaching Improv-Jim Snidero; Jazz Reading Band Clinic • All State TMEA, ATSSB, and Jazz Etudes • Boston Brass Clinic and other advanced instrument pedagogy clinics • Clinics on Vertical Teaming, Feeder Program, Taking Over a Program, Small School Success, and Technology

Academy for New Band, Choir, and Orchestra Directors Thursday, July 23, 8:30 am to 6 pm First-year band directors register for the Academy ($85) and attend the TBA Convention FREE

TBA Student Day and Booster Training Friday, July 24

TEKS Revisions:

What Every Music Teacher Needs to Know foundations: music literacy • creative expression • historical & cultural relevance • critical evaluation & response

I

f you teach students in grades K–12 in a public school in Texas, you are required by law to provide instruction that covers 100% of the Texas Essential Knowledge and Skills (TEKS) applicable to each grade/level. Beginning in August, that instruction must be based on revised music TEKS that were adopted in 2013. Regardless of whether you’re experienced at meeting this requirement or are considering it for the first time, there are resources available to you to help you accomplish the task.

TEKS Are the What, Not the How The TEKS help structure instruction around what the student should know and be able to do at the end of each grade/level, not how that instruction should be delivered. The TEKS are vertically aligned to provide for a cohesive curriculum from one grade/level to the next. Furthermore, the TEKS provide a consistent and sequential plan for student instruction and learning across the state.

It is the responsibility of each district and its teachers to develop curriculum that will provide the basis for what teachers will teach and students will learn in the classrooms throughout the district.

TEKS Revisions Over two years ago, the revision process began with the appointment of review teams by State Board of Education members and concluded in the spring of 2013. The State Board of Education adopted the revised TEKS, publishers have developed materials, and school districts are drafting new curriculum to meet them. There are many resources available to help you prepare to meet this requirement, and below are answers to some frequently asked questions about this revision and its requirements for all teachers. As always, you can contact TMEA if you cannot find the information you need to respond to this requirement, and we will do what we can to support you. Additionally, the Center for Educator Development in the Fine Arts (CEDFA) is an excellent resource for music educators as they prepare to develop curriculum for meeting the revised TEKS. CEDFA and the TEKS CEDFA is a statewide network with the mission of supporting fine arts teachers in implementing the Fine Arts TEKS.

22 Southwestern Musician | May 2015

CEDFA explains that the process of educating children is much like building a house. The TEKS provide the solid foundation.

A curriculum framework is the framing of the house. It is up to each district then to complete the house in a manner that meets the particular needs of its students. Districts are encouraged to exceed the minimum requirements of law and State Board of Education rules, supplementing curricula with meaningful activities, resources, and instructional materials. As an organization, CEDFA promotes student achievement in the fine arts by defining and supporting quality TEKS-based professional development for Texas educators.

Get Started The following questions and answers are intended to help you prepare to comply with the requirement to deliver 100% of the music TEKS applicable to the grades/levels you teach.

When must the revised music TEKS be implemented?

The revised TEKS must be implemented beginning this August with the 2015–2016 school year.

Where can I find a copy of the TEKS for Fine Arts?

Use the following link to access the revised music TEKS in effect next school year: www.tmea.org/revisedTEKS. Where can I get a copy of the TEKS for my classroom? CEDFA created scope and sequence TEKS charts for each fine arts discipline. You can purchase a set of Music TEKS charts for $27.95 at www.cedfa.org.

How do I secure instructional materials to support the implementation of the TEKS? The current legislature is in the process of funding the Instructional Materials Allotment (IMA), the funds districts may use to purchase such materials. Such purchases are a local decision, so you must work with your local administration to secure materials funding.

Where is the requirement for teachers to comply with TEKS instruction? The Texas Education Code states that, as a condition of accreditation, districts must provide a curriculum that covers 100% of the TEKS of all subjects of the

UNT College of Music Summer Workshops 2015 13th Annual Pirastro Strings Elite Soloists Program May 22–29 Jeff Bradetich ClarEssentials Middle School Clarinet Workshops June 8–10 Guyer High School, Denton, TX June 15–17 Cobb Middle School, Frisco, TX Kimberly Luevano, Kristen Thompson, Connor O’Meara Flute! Fundamentals for Teachers June 8–12 Mary Karen Clardy 28th Annual Bradetich Double Bass Masterclass June 8–12 Jeff Bradetich, Jack Unzicker 15th Annual Lynn Seaton Jazz Double Bass Workshop June 8–12 Lynn Seaton North Texas Conductors Collegium June 8–19 Eugene Migliaro Corporon, Dennis Fisher 15th Annual Beginners and Intermediate Bass Camp June 10–12 Jeff Bradetich, Gudrun Raschen, Jessica Gilliam Valls, Carlos Gaviria Flute! Middle School Day Camp June 12–13 Mary Karen Clardy

Marching Percussion Camp Paul Rennick, Michael Hernandez June 15–18 String Orchestra Day Camp June 15–19 Rebecca Roesler (Grades 2–10) Flute! Practicum for Performers June 15–19 Mary Karen Clardy Keyboard Percussion Symposium (Formally UNT Marimba Workshop) June 15–19 Christopher Deane, Brian Zator, She–e Wu, Sandi Rennick, Gordon Stout, Ed Smith Flute! Masterclass in Repertoire and Performance June 19–21 Mary Karen Clardy Vocal Pedagogy Workshop June 19–20 Stephen F. Austin Summer String Institute Session 1: June 19–26 Session 2: June 26–July 3 Violin: Bui Cong Duy, Julia Bushkova, Philip Lewis, Felix Olschofka, Gary Levinson, Alex Kerr Viola: Ralph Fielding, Daphne Gerling, Liesl–Ann de Villiers, Susan Dubois Cello: Eugene Osadchy, Nikola Ruzevic, Elizabeth Morrow Orchestra: Clay Couturiaux Vocal Jazz Summer Workshop June 21–26 Jennifer Barnes, Rosana Eckert, Greg Jasperse

ClarEssentials High School Clarinet Workshop June 24–27 Daryl Coad, Deb Fabian, Kimberly Luevano, John Scott Drum Major and Student Leadership Camp June 25–28 Nicholas Williams, Jeremy Spicer, Manuel Maldonado, Duane Hill (Texas Tech), College Drum Majors from Texas Universities Flute! High School Camp June 27–29 Mary Karen Clardy Texas High School All–State Choir Camp July 8–11 Alan McClung, director, Amanda Quist, guest conductor Jazz Combo Workshop July 12–17 Mike Steinel Middle School/Junior High Honor Choir Camp July 15–18 Alan McClung, director, Rebecca Reames, guest clinician Mariachi Summer Camp July 21–25 Donna Emmanuel Alexander Technique August 1–2 Phyllis Richmond

For information contact Anne Oncken: 940–565–4092, Anne.Oncken@unt.edu

www.music.unt.edu

Required Curriculum, which includes fine arts. Districts must sign off on their compliance with this requirement.

of students in different grades as well as being enrolled in different courses, just as in high school.

Where can I get a copy of a sample curriculum framework? CEDFA offers sample frameworks on their website, www.cedfa.org. Select the Teach Fine Arts menu and then choose Curriculum.

May the middle school fine arts course requirement be met by an “elective wheel” course? The new TEKS specify the middle school courses that may fulfill the fine arts requirement. An exploratory course that samples several fine arts disciplines but does not cover 100% of the TEKS in a singular discipline does not meet this requirement.

What resources are available to assist in developing a curriculum based on the new TEKS? Such documents are available from publishers. Additionally, you can search the TMEA website for additional documents, such as archived articles with TEKS instructional strategies as well as columns by our Vice-Presidents on this topic (most recently, the April issue Elementary Division column included valuable resources about TEKS delivery). Look for more articles in future issues of SOUTHWESTERN MUSICIAN on this topic.

What effect does the change in Middle School TEKS from grades 6, 7, 8 to Levels 1, 2, 3 have on course selection for students whose knowledge/skill level exceeds that implied by “Level 1”? School districts have the flexibility to enroll a student in a music course based on performance and skill level. For example, a student in grade six who has been playing violin since age four may be enrolled in Orchestra 3. However, a student may not be enrolled in a class with the same PEIMS number more than once. Therefore, it is permissible for a student who chooses to be in music all three years of middle school to be enrolled in Music 1 in grade six no matter the skill set and then Music 2 and Music 3 sequentially in grades 7 and 8. A performing ensemble, then, could be made up

Where can I get professional development in the new TEKS? The CEDFA Summit 16 in Austin June 11–12 is an excellent source (see more below). In addition, numerous Region Service Centers will be providing training as listed on the CEDFA website. Also, TMEA will be providing some training at the Region level in elementary music. Please check with your Region Elementary Chair for further information.

Additionally, the annual TMEA Clinic/Convention in February offers clinics that help you in your instruction of the TEKS. Be sure to add those to your schedule for that event.

CEDFA Summit 16 This year’s Summit 16 will be in-depth training of the new Fine Arts TEKS, connections to STEAM (Science, Technology, Engineering, Arts, and Mathematics), strategies related to House Bill 5, and interdisciplinary instruction so that participants will leave the Summit with knowledge to update and adapt any lesson to the new student learning standards. You can learn more about this event and register (by June 5 for a lower rate) below and at www.cedfa.org. If you plan to attend, register soon, as there is an attendance limit.

Learn More at CEDFA Summit 16 The Fine Arts Summit, hosted by the Center for Educator Development in Fine Arts (CEDFA), brings together educators from each of the four fine arts content areas of art, dance, music, and theatre. The professional development sessions offered at the Fine Arts Summit XVI will pertain to the revised Fine Arts TEKS for Art, Dance, Music, and Theatre, grades K–12.

The sessions will be in-depth training of the new Fine Arts TEKS, connections to STEAM (Science, Technology, Engineering, Arts, and Mathematics), strategies related to House Bill 5, and interdisciplinary instruction so that participants will leave with knowledge to update and adapt any lesson to the

24 Southwestern Musician | May 2015

new student learning standards.

The Summit also includes administrator workshops and other special activities and events in addition to Pre-Summit sessions on Thursday morning, June 11, to provide participants with in-depth knowledge on specific topics of interest.

Online registration and details are at www.cedfa.org.

Individuals registering for the Summit before May 20 will receive a discount. Group registrations prior to May 20 for the Summit will also receive additional registration discounts. CEDFA expects registration to reach a maximum, and additional registrations cannot be accepted, so if you’re interested, don’t wait to register.

Summer Music 2015 TCU Percussion Camp June 10 & 11 Brian West, director TCU Harp Workshop June 10 & 11 Laura Logan Brandenburg, director TCU Saxophone Workshop June 22 & 23 Joe Eckert, director TCU Flute Workshop June 24 & 25 Shauna Thompson, director TCU Clarinet Workshop June 29 & 30 Gary Whitman, director TCU All-State Choir Camps Purple Camp, July 12 - 15 White Camp, July 15 - 18 Sheri Neill, director Kenneth Davis, conductor New! TCU String Workshop July 27-29 Elisabeth Adkins, JesĂşs Castro-Balbi, directors ctors For registration materials, please visit our website at www.music.tcu.edu/smi.asp or contact the TCU School of Music at 817-257-7341

For more information: halleonard.com/texastextbooks Contact your administrator about accessing your IMA funds!

Put Your Best Foot Forward

W

hether you’re new to the profession or a seasoned music educator, you know that music teachers value the opportunity to work in Texas. This point was driven home last May when, every day, an average 6,500 visitors reviewed the job services section of our website. If you’re anticipating the start of your music education career or if you’re preparing to change jobs, it’s important to fully understand what those who are hiring music educators expect from the process. To that end, we asked TMEA members who interview prospective music teachers to tell us what they look for in a résumé and how applicants can best prepare for a job interview.

The Résumé While an online application doesn’t offer much room for personalization, your résumé communicates what you believe are the most important aspects of your knowledge, skills, and experience as they relate to the specific position or organization to which you are applying. Consider the following advice from TMEA members about what they look for when reviewing candidate résumés: The information must be clear, concise, and applicable to the job for which you are applying. Most of us have limited time to review résumés, and we will lose interest if the résumé is too hard to read or understand. Two of the most important items are your education and previous work experiences. I want to know who your primary musical and humanistic influences were. I also want to see a list of references and not have to ask for them. —Peter J. Warshaw, Leander ISD Educational credentials are, of course, important. But more than that, we look for résumés to include succinct statements

about their interest in teaching the students of our district, experiences they had while student teaching, why they chose to become a music teacher, and some of their goals as a music educator. We are looking for the “heart” of an applicant. —Bob Bryant, Katy ISD The first thing I look for is quality experience with a successful program under a successful, proven teacher/mentor. I also look to see how long an applicant has stayed with a program—I believe three years gives you enough time to make an educated decision about whether to stay. If you just graduated from college, I’ll look at where and with whom you did your student teaching.

I’m also interested if you taught privately or did other applicable work with a public school program during your college career and the kind of summer teaching activities in which you were involved. —Roy Renzenbrink, McKinney ISD It’s always surprising to receive résumés with misspelled words or poorly constructed sentences. Remember that your résumé reflects your attention to detail. Include information that sets you apart from other candidates, such as marching in a drum corps, serving as a music camp counselor, working in a music office, or teaching private lessons. I also look at references—I’m especially interested in whether you included your ensemble conductors and applied faculty. —Steve Andre, Mesquite ISD We know new teachers won’t have a lot of practical teaching experience, so that portion being sparse is actually okay. What I like to see is what performance experience you’ve had, what honors and awards you’ve earned, and more. Remember, don’t stretch the truth. The teaching world is very small, and it’s easy (especially now that being connected is so simple) to double-check that what you say is true. —Cathy Benford, Tascosa HS, Amarillo ISD Southwestern Musician | May 2015 27

Your résumé is the first step to receiving an interview, so it is important that it contain a sense of your personality. I want to know more than where you went to school and what bands you played in.

This is the person who is going to share my vision and work with my students, so I want to know your likes and dislikes in and out of the band world. I want to know why band and music was your chosen profession and gain a sense of your passion for it. —Diana DD Flores, Plummer MS, Aldine ISD Keep your résumé as honest, relevant, and brief as possible. Don’t embellish your duties, but do include information

that will set you apart from the field.

Your résumé should include educational information, work experience, honors and awards, organization memberships and activity, and 3–5 professional references with contact information (with permission, of course). —Jay Lester, Abilene ISD I want to know who you learned from during your career. This is not to be confused with “It’s who you know.” I want to know where an applicant is coming from pedagogically and philosophically. —Todd Toney, North Garland HS, Garland ISD Be careful to avoid fluff—it tends to jump right off the page. Less experienced candidates will naturally not have as much

Using Online Resources In addition to using the valuable information offered by our members, be sure to consult a variety of sources to help you best summarize your educational and work experience. There are a myriad of resources available online, and we offer the following sites simply as an example of what you can quickly find after some basic Internet searches on this topic. Of course, there is much more to be found, and you need to examine it all thoughtfully to determine how it applies to you.

TMEA Job Board (vacancy postings and résumé upload service) tmea.org/job1 Winning the job (SOUTHWESTERN MUSICIAN feature article, February 2012) tmea.org/job2 Music educator résumés samples (Univ of Illinois College of Fine & Applied Arts) tmea.org/job3 Guide to music educator résumés (National Association for Music Education) tmea.org/job4 UT McCombs School of Business résumé building guide tmea.org/job5 Top 10 résumé mistakes to avoid (monster.com) tmea.org/job6 Résumé tips for graduate students (Princeton Univ) tmea.org/job7 Tips from a recruiter on building a résumé (Forbes article) tmea.org/job8 Job interview tips (monster.com) tmea.org/job9 Social media mistakes to avoid while job hunting (careerrealism.com) tmea.org/job10 Facebook tips for when you’re looking for work (makeuseof.com) tmea.org/job11

28 Southwestern Musician | May 2015

previous employment information, so don’t make it up. Your honesty will net you a position faster than your ability to be creative. Remember that previous nonteaching jobs can be valuable for a potential employer in education. Experienced applicants should be selective and able to thoroughly and concisely describe their responsibilities with key previous employment. —Norm Sands, Tabasco ES, La Joya ISD The desire to teach should come through loud and clear. I really don’t want to know if you aspire to have a TMEA invited choir someday, although I can usually tell if an applicant has that potential. I want to know if you want to transfer the knowledge you have to students and inspire them to become the best musicians they can be. —Judy Lee Welch, Taft HS, Northside ISD What to Know Before You Interview It’s important to be fully prepared for the possibility of an interview. TMEA members shared the following advice regarding what they look for in applicants and what they expect them to know about the program to which they are applying: I expect an applicant to have opinions regarding scope and sequence of curriculum delivery and a good feel for what students should know and be able to do at various stages. I am interested in a good communicator and a pleasant demeanor.

It is not essential for the applicant to know a lot about our program at the time of the interview. —Cody Myers, Amarillo ISD I expect an applicant to have some cursory knowledge of the district and community, including the overall quality of the programs at all schools in the district.

You should be able to speak articulately about your educational and professional background and your philosophy of music education and education in general, and about establishing classroom procedures and managing behavior, motivating students through positive relationships, teaching fundamentals of tone production, technical facility, and musical literacy. You also should have thorough knowledge of your specific subject area.

Finally, I expect applicants to present themselves with poise and confidence.

—James Drew, Fort Bend ISD There are several sites available where you can learn more, including the district or school website, the music program’s

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website, UIL website, and more. I don’t like it when applicants ask me questions about information that’s readily available online. You should get an idea of the success and traditions of the program beforehand. —Amy Shuford, Iola HS, Iola ISD Answer the question that you are asked. Make eye contact and smile. Relax.

Take the time to visit the school’s/program’s website. Know what you want the interviewers to know, and if they don’t ask you about those critical aspects, share that information if offered the opportunity at the end. Be on time and remember that

30 Southwestern Musician | May 2015

people are watching you from the time you pull in the parking lot until you leave.

Dress nicely. Be a professional. Know your stuff. —Dean Muths, Educational Support Center, Clear Creek ISD Do your homework. The best candidates know both the strengths and growth areas of a program, school, or district and can articulate methods for improvement.

Be confident, but not arrogant. Be ready to answer questions about your philosophy of education, discipline style, and organizational approach. Honest answers will help those conducting the interview

see a glimpse of your personality. Practice answering scenario questions with a wise and respected mentor in your area. One last bit of advice would be to keep your responses student-centered. —Jay Lester, Abilene ISD In an interview, I try to get to know the candidate as a person, so pretending you are confident when you have no experience only misleads me, and I won’t see the real you. I look for a familiarity with both Orff and Kodály methods, flexibility to follow what is established in the school, strong musicianship skills, and good classroom management skills working with kindergarten through fifth graders. Applicants should have pleasant dispositions and be able to get along well with colleagues.

—Pay-Sung Chew, Stephens ES, Katy ISD Know discipline techniques, be prepared to answer questions on physical setup of beginning instrumentalists and on planning a class period from bell to bell, and be ready to describe yourself and tell how someone else would describe you.

—Christy L. Myers, Turner HS, CarrolltonFarmers Branch ISD Minimally, you should know the size of the school and what type it is (college prep, IB, magnet, etc.). Do your research, especially concerning statistics for the school, including college acceptance rate and size of the programs. Be willing to work with a program of that size and realize that size does not equal quality.

—Katie James, Vanguard College Preparatory School, Waco I expect applicants to understand our traditions of success and have at least a basic understanding of the socioeconomic makeup of our school. Be prepared to be honest with me about how much time you plan on devoting to the students outside of school hours. Above all, just be honest.

—Christina Marioneaux, Gentry JS, Goose Creek ISD Our thanks go to all the TMEA members who took time to offer their advice to those seeking music educator jobs. To review all 150+ answers provided to these questions about résumé and interview preparations, go to www.tmea.org/tutti where these questions are featured.

The consistency and quality of this publication have been possible primarily with the support of our advertisers. For over 75 years, TMEA has valued the opportunity to publish a magazine that informs members of association news and offers them sound pedagogical concepts to apply in their work. Our sincere gratitude goes to the following companies and institutions that advertised with us in one or more of the issues in Volume 83.

THANK YOU, ADVERTISERS! Abilene Christian Univ Alfred Music Publishing Allegro Apparel & Plaques AMC Music Austin Symphony Orchestra Baylor Univ Blast of Brass Blinn College Bocal Majority Bassoon Camp, LLC Boston Conservatory, The Bottoms School of Vocal Acoustics Brad White Music Education Enterprises Breezin’ Thru Theory Cal30 iPhone Solutions Carnegie Mellon School of Music Children’s Chorus of San Antonio ChordBuddy Choristers Guild Clarinet Colloquium Clark W. Fobes Concord Crossmen Drum Corps D’Addario Dallas Baptist Univ Dallas Symphony Association Dance Sophisticates Dancing Drum Del Mar College Director’s Choice Eastman School of Music Editions Henry Lemoine Executive Systems West Foundation for Music Education, The Fox Products Corporation Hal Leonard Hardin-Simmons Univ Harmonious Designs, LLC Houston Arts Partners Houston Youth Symphony J.W. Pepper & Son Katy Jazz Festival La Tradicion Music

Lamar Univ Lone Star Percussion Malmark Manhattan School of Music MarchingApparel.com McGraw-Hill Education Messiah College Midwestern State Univ Mika Hasler Young Artist Competition Musical Moments and Way Cool Keyboarding Musicfest Texas My Music Folders MusicFirst New Mexico State Univ North Texas Metroplex Children’s Choirs N-Tune Music and Sound Oklahoma City Univ Orchestra Tutor Our Lady of the Lake Univ Pearson Pender’s Music Company Peripole Print Music Source QuaverMusic.com RBC Music Company Rhythm Band Instruments, LLC RhythmBee Inc. Row-Loff Productions Sam Houston State Univ Southern Methodist Univ Southwestern Baptist Theological Seminary Southwestern Univ Spirit of America Band Stephen F. Austin State Univ Steve Weiss Music Summit Tour & Travel Suzuki Tarleton State Univ Texas A&M Univ/Commerce Texas A&M Univ/Corpus Christi Texas A&M Univ/Kingsville

Texas Association for Symphony Orchestras Texas Bandmasters Association Texas Choral Directors Association Texas Christian Univ Texas Jazz Educators Association Texas Lutheran Univ Texas Music Administrators Conference Texas Orchestra Directors Association Texas State Univ Texas Tech Univ Texas Wesleyan Univ Texas Woman’s Univ Themes & Variations TMF Tours and Travel Transylvania Univ Trinity Univ Tyler Junior College Univ of Colorado Boulder Univ of Houston Moores School of Music Univ of Louisiana at Monroe Univ of Nebraska Univ of North Texas Univ of Oklahoma Univ of South Alabama Univ of the Incarnate Word UT/Arlington UT/Austin UT/Austin Longhorn Band UT/Brownsville UT/El Paso UT/San Antonio UT/San Antonio-Institute for Music Research UT/Tyler Valley Keyboards, Inc. Vanderbilt Univ - Blair School of Music Wayland Baptist Univ West Music Company West Texas A&M Univ West Virginia Univ WGI Sport of the Arts Wood Violins Yamaha Southwestern Musician | May 2015 31

ORCHESTRA NOTES IMPORTANT DATES May—Renew your TMEA membership.

May—Attend your spring Region meeting (see page 2 for details).

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

May 1—Texas Music Scholar application materials postmark deadline.

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

June 1—Deadline to submit proposals online for the 2016 TMEA convention (see page 8 for details).

June 21—First round of Honor Orchestra judging (HS and MS/JH Full, MS/JH String).

June 30—All TMEA memberships expire.

July 22—TMEA training for Region and Area Orchestra Chairs in San Antonio.

July 23–26—TODA convention in San Antonio.

August 1—Deadline for waivers to the audition process to be received at TMEA headquarters.

August 20—Liability insurance purchased through TMEA expires.

September 15—HS String Honor Orchestra online entries due.

February 10–13, 2016—TMEA Clinic/ Convention in San Antonio.

32 Southwestern Musician | May 2015

Performance versus teaching B Y

P E N N Y

M E I T Z

I

t’s probably safe to say that each of us in the field of music education have taught a student who wanted to major in music. Among the many choices on that road, one of the most basic is deciding what aspect of music that study will encompass. The most frequent considerations are usually music performance or music education.

For many students, especially ones talented and fortunate enough to be selected for an All-State ensemble, the siren song of performance has a strong pull. The possibility of spending one’s working life in a job that could potentially be as fulfilling and life-changing as the time spent rehearsing and performing at All-State is an incredibly strong motivator!

The reality is, however, that few actually win those seats in top professional ensembles, that many extraordinary musicians audition for just one chair, and that a performance degree in itself is not a requirement for a performance job.

And still, too many music schools route students into a performance track. A prevailing philosophy still seems to be that those who can, do, and those who can’t, teach.

So, what do we tell our students who are interested in becoming professional musicians? Too many universities try to convince education majors who are strong players that they should major in performance. To a young person, it’s flattering when your teacher suggests that you are good enough to be a performance major. There are many people with performance degrees who work in non-music fields because that degree alone is often lacking. We all must continue to promote our chosen field with the fervor of missionaries!

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Continue to remind students who are leaning toward a performance degree that an education degree can give them the same performance preparation that also serves as a cornerstone of a music education certification. Still, we do not want to promote teaching simply as financial security for those who cannot get a performance gig but rather as a profession of integrity with its own merit. Minimally those students who want to continue to pursue performance should investigate universities that offer a double major in performance and education. In so many ways they complement each other.

In the words of a colleague who came to teaching from the performance world, “A lot of students in college scoff at the idea of teaching orchestra, as if it is below what we came to the conservatory to do, which is to perform full-time. I would want to encourage as many students out there as possible to try it—look into going to work with a local high school ensemble and teaching sectionals to start, or perhaps look into teaching group lessons instead of just private lessons. Until you’ve actually tried it, I don’t think you can judge how you’d feel about being a full-

time public school teacher. I leave work exhausted but thoroughly fulfilled every day. As a performer I hear the applause from an audience who then leaves and goes on about their lives—most of them I will never meet or know. But in six years teaching I have met and taught over 500 different students and I know I’ve been able to affect each one, even if only to help broaden their minds to the world of music.”

We can further this cause with performer friends and colleagues by speaking positively about our own experiences and the advantages and fulfillment in our lives that teaching orchestra in schools has brought. Reach out to new colleagues and help them become comfortable in the classroom. Those experienced colleagues who reached out to me as a young teacher were a vital part of my professional growth.

Another reflection of this reality is that as orchestra teaching jobs have become more difficult to fill, more performance majors are entering the classroom. They arrive for different reasons and by different routes. What paths are there for someone who wants to earn a teaching creden-

tial and how much support is offered to new teachers who don’t take the traditional path? And what steers performers towards careers in the classroom?

Alternative certification is one of the routes to becoming a public school teacher.

These programs are offered through many community colleges and universities and through educational regions. The curriculum includes general courses on child development, classroom management, and other topics shared by most subjects. Some offer instruction entirely online; others have an intern teaching component, providing an opportunity to practice teaching under the eye of an experienced teacher. Specific courses in teaching music in the classroom are more difficult to find.

When a performance major enters the classroom, he or she may be starting with little, if any, experience on secondary instruments. Training and experience on the podium conducting are often nonexistent. Alternative certification usually does not address either of these areas, leaving the newly certified director to figure out basic foundations of good classroom instruction.

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903.566.7450 www.uttyler.edu/music Southwestern Musician | May 2015 35

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“In 25+years of teaching I’ve never had a wrist posture training aid I trusted and recommended to my students until now. My beginner students and parents appreciate how the EggMATE makes wrist posture effortless, and I like knowing they’re practicing with the same techniques we expect them to use during lessons.”

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The EggMATE is a positive approach to guiding the ball of the player ’s hand, and preventing the wrist from collapsing against the neck of the instrument. This develops and reinforces “procedural” or “muscle memory” of the proper wrist posture. Importantly, it will not interfere with proper thumb positioning and is designed to help promote proper finger reach.

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“As a teacher, my first task is to teach the students how to practice. Once they understand this, they begin to make progress.”

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Conversations with several colleagues who have entered the classroom through a nontraditional route tell of the desire to pass on the influence and inspiration they received from their school orchestra directors and private teachers. Everyone I spoke with conveyed the deep satisfaction they have received through teaching and canâ&#x20AC;&#x2122;t imagine a life without students. In my admittedly small and informal survey, I was surprised at the number of my colleagues who have performance degrees.

Most, maybe all, have continued to be active in performance as they have taught full-time and work to keep their performing chops in at least decent shape. Many earned a performance degree with hopes of obtaining a full-time job in a professional orchestra, and when they finally faced the competitive reality of those jobs, entered the teaching field.

2016 Convention Proposals June 1 is the deadline to submit an online proposal to present a clinic or music showcase during the 2016 Clinic/ Convention in San Antonio. You can apply at www.tmea.org/clinicproposals.

For more details on the most important topics that attendees want represented, see page 8.

The Executive Board values attendee feedback in its review process to set the program for our convention. With that in mind, after the June 1 proposal deadline, TMEA will be offering members the opportunity to indicate which clinics they would have interest in attending.

The Board will include this feedback in its evaluation of clinic proposals and its work to create a balanced program that meets our membersâ&#x20AC;&#x2122; needs.

Whatâ&#x20AC;&#x2122;s Ahead As we look forward to a well-earned and needed vacation, remember to attend your spring Region meeting. If you are entering the MS String and Full Honor Orchestra or HS Full Honor Orchestra, remember the May 1 and June 1 deadlines and read through the Honor Orchestra entry rules for details of this competition. First round judging will take place at Klein HS on Sunday, June 21.

I look forward to seeing many of you at the TODA convention July 23â&#x20AC;&#x201C;26 in San Antonio. This summerâ&#x20AC;&#x2122;s convention features Carrie Lane Gruselle, David Becker,

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Prepare to Teach the Revised TEKS Revised TEKS are in effect starting with the 2015â&#x20AC;&#x201C;2016 school year. We are

all required by law to cover 100% of the music TEKS as they apply to our grades/ levels. Read the information and answers to frequently asked questions about the TEKS revisions and the requirement to teach them on page 22.

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Southwestern Musician | May 2015 37

TMEA Region/Area Realignment Status

O

n March 13, the TMEA Executive Board, along with UIL representatives Brad Kent and George Strickland, continued their review of Region/Area alignment. As we reported in the April issue, this realignment analysis has been in progress since last March, with the first report offered during the 2014 TBA/TODA/TCDA conventions.

For additional updates and to offer your valued feedback on this topic, be sure to attend your spring Region meeting (see page 2 for details). Your Region officers will communicate feedback to the Executive Board for consideration during its June meetings.

PARAMETERS OF DECISION-MAKING • Geographic Concerns • Using past participation data of all three performance divisions as a guide to ensure: -

Equality of student opportunity.

Statewide representation.

Allowance for potential growth.

Fluid ongoing amendment.

REGION ADJUSTMENTS UNDER CONSIDERATION West Texas • Balance participation numbers: - Add the Lubbock area and schools north of Lubbock to current Region 1.

- Move schools south of Lubbock to Region 6.

- Move schools southeast of Lubbock to Region 7.

• Region 16 is redefined for use in the Greater Houston area.

• Region 22 would essentially stay the same.

Dallas/Fort Worth Metroplex • Add two new Regions.

• Reconfigure all Regions to more closely balance participation numbers.

• This would result in Dallas/Fort Worth Metroplex being part of 8 Regions.

DETAILS OF STEPS DISCUSSED TO DATE • Use apportionment to determine the number of chair selections within each Area based on participation in the process.

• Redraw current Regions to, where possible, more equally distribute participation.

• Strategically add Regions in large metropolitan centers to allow for current and future growth.

• Form Areas, as possible, as geographic hubs to minimize extreme travel demands.

• Commit to systematically re-examine Region and Area alignments on a continuous, two-year cycle.

Greater Houston • Add one new Region.

• Reconfigure all Regions to more closely balance participation numbers.

San Antonio/Austin • Add two new Regions.

• Reconfigure all Regions to more closely balance participation numbers.

RESULTS 32 Regions with more balanced participation numbers (based on existing data) grouped into 8 Areas, each containing 4 Regions.

All-State Ensemble Membership Numbers Modify All-State numbers to reflect the move from seven to eight Areas.

38 Southwestern Musician | May 2015

TIMELINE April/May 2015 • Updated report distributed to Region officers for spring meetings.

• Updated report distributed to Region officers for August Region meetings.

August/September 2015

• Updated report published in SOUTHWESTERN MUSICIAN.

• Feedback collected by Region officers at fall meetings and communicated to Executive Board.

• Feedback collected by Region officers at spring meetings and communicated to Executive Board.

June 2015

• 2015 Executive Board will consider feedback and deliberate during September Executive Board meetings in Austin.

• Executive Board and Brad Kent meet on 6/12/15.

July 2015 • Progress announcements made at: - July 22 Region Officer training in San Antonio.

- July TMEA State Board meeting.

• Updated report published in the SOUTHWESTERN MUSICIAN. February 12, 2016 • Latest date to officially announce all realignment policies to be in effect August 2016.

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POSITIVE Accentuate the

BY

RUSSELL GAVIN

T

he ways in which we instruct, respond to, and interact with students profoundly impact everything in our classroom. These exchanges allow us to guide students toward greater or lesser musical achievements, higher or lower self-confidence, and increased or decreased enjoyment of music. We carry an extraordinary degree of influence over each of our students, and whether we are addressing behavioral issues or musical situations, the ways in which we interact with them must be constantly on our minds. More specifically, we need to give special attention to the choices we make when addressing their successes and failures.

WHY GIVING POSITIVES MIGHT NOT COME NATURALLY As musicians, we spend the majority of our musical training on isolating what is going wrong in our performance or is lacking in our abilities. During the transition from musician to teacher, it is natural for that focus to carry over to the classroom. I imagine most people reading this can easily recall the last several critical remarks they made in their classroom. But do you remember the last several positive or affirming things you said? If so, good for you! If you can’t recall the positive things you told your group, or if you question the need to do so, I encourage you to consider what science tells us about balancing positives and negatives.

POSITIVE VERSUS NEGATIVE FEEDBACK For decades, psychologists have been looking at the balance between positive and negative feedback. An overwhelming number of studies have shown that you need many positives to balance one negative. The most consistent finding is that five positive comments or interactions are needed to balance out a single negative comment or interaction. In circumstances where the interacting parties are well known to each other, the number of positives needed to balance a single negative increases. (One study focused on married couples found that 12 positives were needed for each negative!) How does this ratio look in your classroom?

If the default reaction you experience when you hear students making music is negative or critical in nature, I encourage you

to actively seek opportunities to praise students succeeding in class. This praise will have the immediate effect of lifting up those successful students and will have the overarching effect of demonstrating your expectations to the rest of the class. Directing your class in this way will also provide constant models for what to do in class, as opposed to simply isolating the behaviors you don’t want students displaying. This method of responding to the things going on in your classroom is most influential if the comments are specific in nature, thus allowing the other students an opportunity to copy the exact things you are praising.

BLANKET POSITIVES As you consider adding more positive feedback to your teaching, don’t simply increase the number of general positive statements you express. Giving non-specific positive feedback creates the risk of supporting students who are not doing what you want, while simultaneously lowering the bar of what you expect from the musicians. Imagine sitting in an ensemble in which the director follows every cutoff with “great job” or “nice.” Those words lose almost all value after you have heard them 80 times a day for the last six months. Instead, strive to tell the students precisely what was great or nice.

PERMANENCE In addition to the sheer weight negative comments carry, it is important to note that the emotions elicited by the criticisms we direct at our students last longer then the emotions elicited by our praise. To say it differently, negatives pile up over time, while positives tend to be temporary. This is important to remember as you consider the overall atmosphere of your classroom. Do the students enter the room fearing you or excited to be led by you?

When you say a student’s name, is the reaction dread or optimistic anticipation? It is hard to imagine any of us began our careers hoping to create a fearful or toxic atmosphere among our students, but we know it happens. Luckily, you can begin adjusting that atmosphere as soon as today!

Southwestern Musician | May 2015 41

GIVING NEGATIVES Though we are primarily focused on increasing the number of positive interactions that occur in the classroom, it is also important to address the ways in which we give negative feedback.

When possible, it is best to give negative feedback in a private setting. This is especially true when you are addressing a behavioral issue. Speaking one-on-one about a disruptive behavior will make the feedback more meaningful to the student and will spare them the potential shame of being called out in front of their peers.

Though this type of public shaming may have some impact on their behavior, it is just as likely to give them the level of attention they may be craving. In these instances, your public criticism actually serves to encourage the behavior you are condemning.

Additionally, negative feedback should be directed at specific actions or behaviors, and never at the student personally. There is a big difference between a student being told they are “talking too much” and a student being told they are a “talker.” Similarly, telling a student they

42 Southwestern Musician | May 2015

are “a little flat” sends an entirely different message than if they are told they “have bad pitch.” Though these differences may

appear subtle, they are profoundly important when coming from the mouth of a teacher.

WHAT POSITIVE FEEDBACK SOUNDS LIKE Consider using positive and specific language like the following examples:

Altos, thank you so much for having great posture!

Immediate Effect: Altos feel good about doing what you have already asked them to do.

Overarching Effect: All students are reminded that they should be sitting and standing with great posture.

Second row, thank you for sitting quietly while I worked with the back row.

Immediate Effect: Second row students feel appreciated for sitting quietly.

Overarching Effect: All students remember they are expected to remain quiet when other sections are being addressed and realize you are paying attention to everything in the room, even when specifically focused on one group.

Trumpets, that was the best articulation we have heard in that section yet!

Immediate Effect: Trumpets know they played it very close to what you are seeking, thus encouraging them to keep working to the goal.

Overarching Effect: All students know the style you want in this section and can transfer that to their own parts should they have a similar line in their part, and it provides a model for the ensemble.

DO

YOU HAVE A CLASS THAT IS MORE CHALLENGING THAN THE OTHERS? Go into that class with a steadfast resolve to guide them in positive ways. It is often the students in these challenging classes who need our positive support the most.

HOW TO MAKE A STUDENT DISLIKE YOU—FOREVER One of the clearest memories I have from my middle school experience occurred in the classroom of a favorite teacher. It isn’t, however, a pleasant memory. Ms. Boyd accused me of taking another student’s pencil. She called me out in front of the other sixth graders and told me to give the pencil back. There was only one problem. I hadn’t taken the pencil.

I clearly remember the anger I felt at being wrongly accused. I was a good student, and had done the right thing—how dare she accuse me! From that moment on, she was no longer a favorite teacher of mine.

As I have traveled the country speaking

about positive feedback in the classroom, I have been shocked to learn that most people can recall a similarly powerful experience in which they were accused of doing something which they were actually innocent of. These experiences may come from teachers, parents, or peers, but they consistently leave the permanent and painful memories. With that in mind, if we choose to publicly criticize a student, it is imperative that we are 100% certain the accusation is founded. If there is even a small doubt in your mind that a student is not guilty of the musical or behavioral transgression you intend to single them out for, it is always best to redirect the class’s attention toward a positive goal.

STAYING POSITIVE Life is hard. Teaching is hard. And patience is an exhaustible resource.

These three realities require each of us to step back and reflect from time to time. Remember that the classroom can be an oasis for you in the same way it is for so many of your students. Work hard to prevent outside forces from making you a short-tempered teacher. Fight the urge to take out your frustrations on your class. But if you do, take a step back and apologize.

Do you have a class that is more challenging than the others? If so, go into that class with a steadfast resolve to guide them in positive ways. More often than you do the other classes, remember to tell this class you appreciate them. In the end, it is often the students in these challenging classes who need our positive support the most. Try giving it to them today! You might just be surprised at the impact this choice will have on those students and you.

Russell Gavin is an assistant professor of instrumental music education at Baylor University.

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44 Southwestern Musician | May 2015

TCU Director of Chorale Studies, Dennis Shrock conducts the TCU Concert Chorale in Fort Worth’s St. Stephen Presbyterian Church

All-State Choir Camp Dr. Sheri Neill, camp director • Dr. Kenneth Davis, conductor

Sessions Purple Camp, July 12 - 15 • White Camp, July 15 - 18 Section Leaders Amy Allibon, Birdville High School Michael Dean, Trinity High School Billy Talley, Tascosa High School Cheryl Wilson, Garland High School Brad White, TCU

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For registration information, please visit our website at www.choircamp.tcu.edu

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The journey B Y

R O B E R T

H O R T O N

T

he first few months of being your State Vocal Chair have been a wonderful but fast-paced journey. It feels like I arrived at the top of the roller coaster, looked down, and before I could imagine it, my car was flying! Since the election, an article was due within the first week, a meeting held in two weeks, Area sites and hosts selected within three weeks, four conductors and repertoire to finalize within five weeks. How about refining the AllState Small School Mixed Choir process? Oh, did I mention securing the featured clinician and the invited choir submissions? The journey of being your Vocal Chair has begun rapidly!

Enjoy the Journey I must give a sincere word of thanks to Dinah Menger, Janwin OverstreetGoode, Joe Weir, Denise Eaton, and countless other colleagues who have offered me advice and encouragement. The willingness of choir directors in Texas to step out and lead by serving is amazing! When I told you that I like people and that I like to work, I was not kidding. When Denise Eaton told me that being State Vocal Chair was like having another job, she was not kidding. I am invigorated and delighted by the work I am privileged to do. I am truly enjoying this journey.

By now, you might have seen the All-State repertoire lists and conductors.

Each conductor expressed how honored they were by the invitation to come to Texas! I am so excited about the music that many thousands of people will be spending countless hours learning and perfecting over the next several months.

At the Region level, I look forward to the outstanding concerts and memorable experiences that thousands of students and their directors and conductors will enjoy this coming fall.

The All-State Journey I firmly believe in the All-State Choir process. Each year, my co-teachers

When properly handled, the All-State process can teach self-discipline, goal setting, and provide PXOWLSOH RSSRUWXQLWLHV IRU VWXGHQW WHDFKHU interaction.

VOCAL NOTES IMPORTANT DATES May—Renew your TMEA membership online.

May—Attend your spring Region meeting (see page 2 for details).

May 1—Texas Music Scholar nomination materials postmark deadline.

May 1—Postmark deadline for 2016 TMEA Convention Performing Choir application and CD. June 1—Deadline to submit proposals online for the 2016 TMEA convention (see page 8 for details).

June 30—All TMEA memberships expire.

July 22—TMEA training for Region and Area Vocal Chairs in San Antonio.

July 23–26—TCDA Convention in San Antonio.

August 1—Deadline for waivers to the audition process to be received at TMEA headquarters.

August 20—Liability insurance purchased through TMEA expires.

February 10–13, 2016—TMEA Clinic/ Convention.

Southwestern Musician | May 2015 47

and I tell our students that the journey on the path to All-State can be as valuable as the outcome, and I know many of you feel the same. In what other competition format can you have the opportunity to work on music that teaches you so

much about yourself as a singer? When properly handled, the All-State process can teach self-discipline and goal setting and provide multiple opportunities for studentâ&#x20AC;&#x201C;teacher interaction.

Self-discipline is truly a learned skill.

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48 Southwestern Musician | May 2015

Few of our students possess it without first seeing it modeled and understanding its value in their personal lives. Many times over the years, students have told me that they applied our method of dividing All-State music into manageable sections to help them conquer another large project or study for a very difficult test.

I have seen students develop the selfdiscipline required to learn their audition music and apply it to the rest of their academic lives. Further, some have been additionally motivated to be eligible so that they could audition for or perform with Region Choir.

Goal-setting can be a powerful motivator for students. Singers have told me before a school year began that their goal was to make All-State Choir. When they say things like that, it is hard to not smile at them. Sometimes I smile because I am excited they are so motivated; sometimes I smile because I know they have no idea what it takes to achieve that goal. No matter where a student is on the reality spectrum about their goal, it certainly opens up the conversation about goal-setting.

Often, I encourage students to have

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many goals. Some are intermediate goals they must achieve on their path toward a larger target. Sometimes their goal needs to be refocused from I will make All-State Choir to I will work hard to learn as much as I can about the music and about myself as a singer. Regardless of the magnitude of the goals, learning to set them and work toward them is a lifelong skill that music study can help students develop.

The opportunity to work with our singers on audition music is priceless.

Many students can (and should) practice

alone. But, I love the times when we have a group of kids in the choir room after school working together. Occasionally, we rehearse boys and girls separately.

However, we try to have some time when they can all be together. Often, students need to be encouraged to believe that they can be successful for them to continue to practice very difficult music. The support of peers is a critical element in developing a student’s belief about their own growth. I also love the time that we, as teachers, are able to spend with students

on their All-State journey. I can remember so many students whose lives, like mine, were enriched by the time we spent together because of All-State preparation.

Well, the sermon is over. I believe in the value of the All-State audition process.

If you are a middle school teacher, you might be thinking “That’s fine for high school, but all we have is All-Region.” In the first 14 years of my teaching career, I developed my philosophy about All-State based on what I experienced with middle school students preparing them for AllRegion competitions. It’s just as crucial.

The Wrap-up I hope you end the year well and that you are looking forward to the summer as much as I am! I hope you do something that you really enjoy, and I hope you do something that renews your desire to be the best teacher you can possibly be.

To that end, please consider submitting a clinic proposal for the 2016 TMEA Clinic/Convention. Texas is full of amazing, talented teachers, and we all can learn from each other. Keep this in mind when you are submitting your proposals. Before you enter your proposal online, take the time to fully document exactly what you will present, how you will present it, and for whom the information is intended.

Thorough proposals will be given more serious consideration in the Executive Board’s review. For more information on the submission process and the highestranked topics by convention attendees, see page 8.

I hope to see you at the TCDA convention as we experience all that President Billy Talley and the board and staff have prepared for us.

If I can be of assistance, please don’t hesitate to contact me. It is an honor to serve you, my colleagues. I am happy to be on the journey with you.

Prepare to Teach the Revised TEKS Revised TEKS are in effect starting with the 2015–2016 school year. We are all required by law to cover 100% of the music TEKS as they apply to the grade/ level. Read the information and answers to frequently asked questions about the TEKS revisions and the requirement to teach them on page 22.

50 Southwestern Musician | May 2015

TUTTI who what when where why

)

UNLESS YOU TRY TO DO SOMETHING BEYOND WHAT

YOU

end-of-year lessons & traditions

HAVE

ALREADY MASTERED,

YOU WILL NEVER GROW .

r a l p h w a l d o e m e r s o n

What end-of-year lessons keep your students engaged and learning?

David Graeber, Johnson Sixth Grade Band, Everman ISD: Do a future goals worksheet or poster for students to visualize what they want to accomplish during the upcoming school year. Ask them what they can start doing on their own during the summer to help themselves prepare for success throughout the school year.

Providing a rubric or expectations list will help them come up with specific skills to establish their steps to success.

Jeff Rudy, McCallum HS Band, Austin ISD: For AP Music Theory classes, we do a culminating project that allows the students to select a published piece of music (they get to choose) and arrange it for a small ensemble. As part of the project, they must provide a handwritten score of their arrangement (demonstrates their knowledge of notation), a full analysis of the original score (demonstrates concepts covered throughout the year), and computer generated parts (demonstrates their ability to use current technology). The last few days of class are devoted to live performances of these arrangements, using students from our band, orchestra, and choir programs. Often, the students record these performances, giving them a permanent copy of their work.

I started this 10 years ago and it has become the look-forward-to project in theory.

Devin Turk, Leonard HS Band, Leonard ISD: At the high school band level, I begin shifting gears back to marching band.

We begin sightreading new stand tunes and if we have our show music, we will begin reading through it as much as possible. With beginning and junior high bands, we play through pop tunes, movie music, and teach students basic composition. We even per52 Southwestern Musician | May 2015

o n t h ’ s f e at ure m s i s) th

form some of our 8- to 12-bar compositions in class. I teach my students to be as creative and imaginative as possible.

Megan Lied, Berkner HS Choir, Richardson ISD: Our high school choir does an a cappella arranging project. Students work in groups of 6–8 and create their own arrangement of a pop song.

They must incorporate the melody, at least one harmony line, and some kind of rhythm, and all students must perform. They spend the better part of a week working together and then perform for each other.

Tommy Corley, Carthage HS Choir, Carthage ISD: I often use post-spring-concert time to teach piano basics. Using a keyboard introduction (names of the keys), staff, pitch letter-name reinforcement, and a beginner piano book, many can acquire a basic skill for playing their individual part. Fingering is covered, but most are satisfied with hunt-and-peck to reinforce any uncertain solfège pitches. This is a great boost to the individual’s confidence, serves well for helping learn UIL solos, and helps in student-led sectionals.

Kathy Hollier, Groves MS Choir, Port Neches-Groves ISD: Instead of a typical spring concert, we join with our theatre arts department to perform a Broadway musical the third week of May. Auditions are held before spring break, and we go into full rehearsal mode after UIL Concert & Sightreading Contest. This keeps the students highly motivated until the very end of the year.

This is our 21st year to collaborate, and it’s definitely one of the highlights of the year for the kids!

Christina Ritter, Coyle MS Choir, Garland ISD: We play lots of music theory games at the end of the school year. We play key signature races, around the world, and music bingo to name a few. We’ll play on Fridays after four days of note taking over the topics that the game will cover. The kids love it, especially when

I allow them to use their notes from time to time. It encourages them to really engage during note taking sessions!

Kristi Grimes, Johnston-McQueen Elementary, Longview ISD: I reserve current music for the end of year. I use YouTube to find songs that the students listen to outside of school. I try to incorporate rhythm lessons and use a variety of instruments for the students to enhance the music they like. I take suggestions for songs, prescreen for language, and find what I can on the Internet for an interactive lesson. By allowing the students this level of involvement, they own the lesson and look forward to seeing which songs are used the following week. I have also learned that many times what they see in music class, they try to find in the library in books.

Samantha Jones, Walton Elementary, Fort Worth ISD: I have some really great Orff arrangements that I use after spring break for each grade for a whole unit. I don’t have room to always keep xylophones out, but I will if every grade will be playing them.

We also sing Texas music at the end of the year. The students love patriotic music, and I never seem to fit it all in earlier in the school year. I love doing this during the last two weeks of school when everyone has pretty much mentally checked out of school.

Singing Texas songs and American songs puts a smile on their faces and keeps them engaged.

Elizabeth Shier, Academy at Carrie F. Thomas Elementary, Birdville ISD: In grades 3–4 we do a classroom talent day presentation with specific criteria: everyone must participate in some way, students may work alone or in groups, the music must be school-appropriate, and the presentation must be entirely studentcreated/directed. This allows students to be creative and practice

problem-solving skills as they learn to make decisions with their team. This also provides students another opportunity to practice their audience etiquette TEKS and gives families another chance to see the students perform. Everyone gets applause and recognition, and it is a big deal in my class, especially since not everyone is selected to perform in the school talent show. Fifth graders do a music research project that may or may not involve performance—they can research an instrument, band, career, or musician of their choice (school-appropriate) and present their information to the class in whatever way they choose. I have seen lots of Prezis, PowerPoints, posters, and live performances, and this project culminates with a “gallery walk” where everyone can look at each of the works, accomplishing several TEKS, including those regarding justifying personal preferences.

Cary Vanarsdall, Petrolia Elementary, Petrolia ISD: I use the Quaver end-of-year lesson in the curriculum because it turns it into more of a game, and allows the students to use the mobile feature for instant results.

THANK YOU! TMEA members submitted more than 800 Tutti answers this year. These have been added to the Q&A for Teachers repository found under the Resources Menu at tmea.org.

This resource now includes over 3,500 answers to everyday teaching questions.

Southwestern Musician | May 2015 53

What end-of-year traditions do you have to honor outgoing seniors or students at any level?

Bob Bryant, Katy ISD: When I worked as a high school band director, we invited parents of graduating seniors to sit beside their child during the playing of the final selection on their last band concert. The selection was always “The Stars and Stripes Forever.” Before playing the piece I would offer a personal message facing the band to tell the parents and students how much they had provided to the band program, how much we appreciated their support and participation, and how much we looked forward to hearing from them after their Katy HS Band days had concluded. Many parents stated that this was the first time they had ever sat in a band—emotions were overwhelming to all of us during the performance of the last song!

Katie Lewis, Maus MS Band, Frisco ISD: We have the eighthgrade graduating class paint a ceiling tile in the director’s office.

The tile represents the major pieces of music they poured themselves into that year. The class also gets to sign the tile so they can have ownership. It’s a great way to remember each class and each year’s worth of music!

Leigh Ann McClain, Griffin MS Band, Lewisville ISD: Traditions give students something to look forward to and can sometimes help give them the reason to “finish the race.” Even though we are a middle school, we do have traditions for our eighth-grade students. We take a picture of the eighth-grade band and each student signs the mat. This picture is displayed at our end-of-year concert, the Griffin Grammys. It is then hung in the practice room hallway with the others from previous years. We also end the concert with the “Eighth Grade Send-Off” where the entire program plays our school song very slowly while the eighth graders’ names are read and the students line-up across the front of the stage. We then play our school song all together as a full program. At the very end, we present our two big awards, the Golden Griffin and the Griffin Pride. Following the concert, we have a large reception in the foyer honoring the eighth-grade class.

Amy Shuford, Iola HS Band, Iola ISD: In our spring concert, each senior is featured on a 8–12 measure solo. I usually rewrite the music to include these solos. Also, the senior drum major conducts a piece.

Eric Wharton, Bruceville-Eddy HS Band, BrucevilleEddy ISD: I give graduating seniors a plaque/certificate recognizing them as lifetime members of the band. The membership includes an invitation to return at any time to play with the band.

It fosters a valuable connection and pride in the program.

Bingiee Shiu, Memorial HS Orchestra, Spring Branch ISD: Just before they graduate, we invite the seniors to our house for dinner and have a final talk with them. To break the ice, I ask them to share something they got away with during their high school orchestra career. It’s usually pretty funny—but if you try this, be prepared to just let it go! Then we ask them to share one last time with their classmates. Some of them have been together for thirteen years, since they began Suzuki programs in

54 Southwestern Musician | May 2015

kindergarten. To listen to them talk to each other has been quite touching. Some of them have gone so far as to prepare a tribute for each person in the room. I end the night by giving them a charge, and I hand them notepads. Each notepad has the senior’s name and picture on it and at the bottom, Memorial Orchestra: Lifetime Member. It’s simple, inexpensive, and the seniors love it.

It’s exciting and sad to see them go, but we always look forward to catching up at our annual alumni reunion.

Janwin Overstreet-Goode, Friendswood HS Choir, Friendswood ISD: We recognize our seniors at our final concert, calling names individually and having them line up across the front of the stage. We also share our seniors’ future plans at our end-of-year banquet and give them a small token of our appreciation. At the banquet we also recognize outstanding students by grade level, and we present achievement awards (most improved) by ensemble.

Christina Ritter, Coyle MS Choir, Garland ISD: The officers from each of our classes meet with me to create an award for every person in their class, known as the Paper Plate Awards.

After everyone has been assigned an award, the officers gather together for two days after school to make the awards. These are not meant to be serious awards, although they can be. They reflect the inside jokes, the camaraderie, and friendships that have developed throughout the school year. An example of a paper plate award might be “Best moves during our pep rally performance” or “Most likely to break into song at any given moment.” We present the awards on one of the final school days.

It is a wonderful way to recap our school year and embrace the many different people, cultures, and personalities that have come together to create a perfect unison.

Linda Gomez Richter, Raba Elementary, Northside ISD: At Raba Elementary School, fifth graders are “clapped out” on the last day of school. Younger students line the halls as the fifth graders take a last walk through the halls on their way to the bus, parent pick-up, and afterschool care stations. As the fifth graders pass, the other students, faculty, and visitors applaud and highfive them. It’s so wonderfully emotional—I think I’ll join them when I retire!

Samantha Jones, Walton Elementary, Fort Worth ISD: We do a fifth-grade promotion. We always sing our school song and then we choose a special song for them to sing to their parents. I’ve tried to select a different song for each class as they are promoted.

I was very surprised my first year to realize that my students enjoyed slow melodic songs and really connected with the meaning of the lyrics. We’ve never used popular songs they hear on the radio. They really have responded well to the songs we’ve selected—always songs about peace and love.

Lauren Summa, Passmore Elementary, Alvin ISD: At the end of each school year, fifth-grade students learn to play a pop song on Orff instruments. I let each class suggest songs they love, and then I choose one and write an arrangement that fits the skill level of the class. The arrangement features singers, recorders, ukuleles, drums, and all voices of Orff instruments. In the last week of school, we take our instruments on the road and tour the school to play for the different grade levels. The fifth graders, teachers, and students look forward to this Passmore tradition each year!

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

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

Audition Dates Saturday, February 7 Saturday, February 28 Saturday, March 28 Friday, April 17 (video audition deadline)

Contact Us 140711-1114

acu.edu/music 325-674-2199 music@acu.edu

ELEMENTARY NOTES IMPORTANT DATES May—Renew your TMEA membership online.

May—Attend your spring Region meeting (see page 2 for details).

June 1—Deadline to submit proposals online for the 2016 TMEA convention (see page 8 for details).

June 15—Postmark deadline for 2016 TMEA Convention Performing Group application and DVD. June 30—All TMEA memberships expire.

July 22—Elementary Region Chair training in San Antonio.

July 23–26—TCDA Convention in San Antonio.

August 20—Liability insurance purchased through TMEA expires.

February 10–13, 2016—TMEA Clinic/ Convention.

56 Southwestern Musician | May 2015

Routines & procedures B Y

J U L I

S A L Z M A N

S

ummer is fast approaching, and music teachers around the state are getting ready for vacations, much needed rest, and perhaps some professional development, and they’re inevitably rethinking their current programs. What went well? What could I do differently?

As you prepare for the 2015–2016 school year, take some time to think about your procedures in your classrooms. I created a checklist of some common things we need to think about in the elementary music room. You can view the list at www.tmea.org/ elementaryroomlist. Review the list and think about what these look like in your classroom. You likely have procedures in place for some, but perhaps they could be improved. Is there anything you would like to do differently?

Years ago, I was a proponent of echo clapping to capture my students’ attention. It worked well for me. I would clap “ta ta ti-ti ta” once, the students would echo, and magical fairy dust would settle around the room. Like all routines we use, some will last an entire career and some will lose their effectiveness.

At about that same time, I discovered Chris Biffle’s Whole Brain Teaching (www.wholebrainteaching.com). I watched his free online videos, printed some of the materials, and tried some of his ideas in my class the following year. To this day, two of these ideas are still a part of my daily routine, Class–Yes and Teach–Okay.

As you prepare for the next school year, take some time to think about your classroom procedures.

Like all routines we have used, sometimes they last an entire career and sometimes they lose their effectiveness.

Class–Yes This is simply a great attention-getter.

The teacher says, “class,” and the students respond, “yes,” in the same manner as the teacher. Sometimes, I’ll say “class-class” or sing the words to the tune of Beethoven’s 5th Symphony motive. The students then respond with the same style with the word yes. It is amazingly effective! When my school has an assembly and the students begin to get loud, it only takes one “class-class” and they are silent and waiting for instructions.

Attend Your Spring Region Meeting Times & Locations on Page 2

Teach–Okay This is an instructional tool that helps the class remain focused on the task.

Students are paired, and one is designated the leader. The teacher explains a small amount of information, using gestures such as the sign language letter “o” followed by holding up 4 fingers while saying, “A whole note has 4 beats in common time.” Then, the teacher says, “teach,” followed by a body rhythm. The leader of each team responds with the same gesture followed by “okay.” Then the leader explains, with the same gesture, using the information given. New bits of information can then be given in the same manner. Eventually, the teacher says, “switch,” and the partners switch leadership roles.

The key is that whenever the teacher or the leader is gesturing, the students or the partners are copying the gestures while they are listening.

Even Seasoned Teachers Can Learn Each year the schools in our county are closed one day for the Brazoria County Fair. While the students enjoy going to the fair or playing at home, the teachers

attend various professional development programs. A few years ago, the elementary music teachers started a tradition of traveling to a nearby district and observing a master teacher for the day. One of the first teachers we visited was Holly HoltCabrera in Houston. Holly is an amazing choral teacher—you already know that if you’ve seen her performing groups at a TMEA convention. However, what stood out to me during our visit were her classroom procedures. From the moment the students stand outside her door until the teachers come to pick them up, Holly has them actively engaged and following well-established routines.

Featured Teacher Holly Holt-Cabrera has been the music specialist at the Rice School in Houston since 1996. She is also the Director of the Preparatory Choir Program for Houston Boychoir. Under her direction, both groups have performed at our convention.

I asked Holly to share some of her classroom strategies that we could put to use.

Thanks go to her for sharing the following valuable information:

Bocal Majority Bassoon Camp and Operation O.B.O.E. Double-Reed Camps for All Levels

Learn reed-making Play chamber music

www.bocalmajority.com 58 Southwestern Musician | May 2015

2015 Locations: Austin Lake Travis Dallas Ft. Worth/Keller Rockwall Midlothian Houston (South) Sam Houston State U Lubbock San Antonio Brownsville Hawaii Virginia Ohio Northern California Southern California Oklahoma (Edmond)

Three Small Changes That Made a Big Impact: Holly Holt-Cabrera Early in my teaching career, I remember being surprised by the amount of time it took for students to move from one activity to the next. After surviving that first year, at the top of my to-do list was figuring out how to maximize each precious minute of instruction. I needed to find ways to make transitions not only efficient but also as musical as possible.

Although most of the modifications I incorporated were small, they significantly affected the flow of the lesson.

Entering the Classroom: Given that starting lessons in a focused way increases our chances of staying on track throughout, I began greeting each class in the hallway and starting the lesson there. I would say something like: “I’m going to hum a song. When you recognize the song, sing the words and keep the beat in your feet as you walk to your spot.” I quickly began to realize that this not only added to our singing practice and directed our focus, this practice eliminated a lot of chatter.

Eventually students became so familiar with the routine, I was able to just start humming as I greeted them and they took it from there without any prompts.

Taking Roll: I understood the importance of taking roll; I just didn’t enjoy it.

Most days I wished I could skip it and dig right into the lesson without having to spend the minutes on this task. With efficiency and musicality still as my goals, I turned taking roll into a musical exchange where I could briefly assess each student’s tuneful singing. I chose a focal phrase from one of the songs in the day’s lesson—usually the first piece—and when I sang the student’s name, he would sing the musical phrase back with text. For example: If the song were “Hot Cross Buns,” I would sing the student’s name on the melody (m-r-d) and the student might sing the phrase, “Hot Cross Buns,” sing on solfège or rhythm syllable, or even improvise new words to the melody, like “I am here.” It gets more interesting the harder the songs get. The result? It’s a quick way to assess where each student is vocally. The unexpected teacher bonus? The weekly repetition helps with remembering first and last names of 700+ students.

Transitions during the Lesson: My classroom is arranged so that we can move freely, without desks or chairs in the way. The majority of our class time

(especially at the primary level) is spent either sitting in rows or sitting/standing in a circle, and I assign each student a spot in both. Students’ circle spots are as close to their row spots as possible. By assigning the students their own, they know exactly where to move, it’s quicker, and it eliminates attempts to stand by a friend.

During the initial class periods we spend a couple of minutes practicing with students moving from one position to the other and back. Eventually, I say, “Move to your circle spot while singing _________.”

Although practicing is tedious at first, the time we save in the long run is well worth the few minutes up front. By lesson three or four, I can sing the first line of a song and make a circular movement with my finger, and students move from a boardreading activity (seated) to a circle formation in about 15 seconds, singing as they go. One unexpected benefit was that my sense of calm increased because we were now moving with purpose. I no longer felt as if I were trying to herd students.

2016 Clinic/Convention Proposals Do you have an idea for a workshop you could present at next year’s convention? Now is the time to submit your proposals. After reviewing the convention survey results, it is clear that sessions that provide “something to take home and use in my classroom on Monday” are preferred over the commercial sessions and publisher’s showcases. Keep this in mind

when you are submitting your proposals. Also, before you enter your proposal online, take the time to fully document exactly what you will present, how you will present it, and for whom the information is intended. Thorough proposals will be given more serious consideration in the Executive Board’s review. For more information on the submission process and the highest-ranked topics by convention attendees, see page 8.

Apply to Be a Convention Performing Ensemble If you teach an ensemble and would like to apply to perform for next year’s convention, please submit a DVD of a recent performance. Your DVD should showcase your choir or Orff ensemble’s best work and contain a variety of styles.

For more information and to apply, go to www.tmea.org/elementaryapplication.

Prepare to Teach the Revised TEKS Revised TEKS are in effect starting with the 2015–2016 school year. We are all required by law to cover 100% of the music TEKS as they apply to the grade/ level. Read the information and answers to frequently asked questions about the TEKS revisions and the requirement to teach them on page 22.

Enjoy your summer and I hope to see you at the summer TCDA convention in San Antonio!

How do you do that?

If you have expertise to share, now is the time to submit a clinic proposal online. Learn more on page 8, and go to www.tmea.org/clinicproposals.

If presenting isn’t your thing, write an article for possible publication in this magazine. Learn more about the submission guidelines at www.tmea.org/magazine.

Texas is home to many amazing elementary music educators, and we are our best resource! Help your colleagues across the state by sharing what you know!

Southwestern Musician | May 2015 59

SUMMER 2015 MUSIC CAMPS BAND CAMPS High School: June 14-19 Middle School: June 21-26 Drum Major: June 21-26

CHOIR ALL-STATE CAMP July 13-16

PIANO CAMP July 19-24

ORCHESTRA CAMP July 26-31

For costs and registration information, visit

www.music.sfasu.edu/outreach

Keeping it real through community collaboration B Y

M I C H E L E

I

H E N R Y

n preparing future music educators, perhaps one of the greatest challenges we face is providing opportunities for our students to teach. We want these experiences to be authentic and to reflect real-life situations. We want to give them the chance to try, to fail, to try again, and ultimately to succeed. For these experiences to be as real as possible requires the participation of school-age students for them to teach. The challenges of borrowing students are numerous. Public school music programs are full and bursting with performance demands, coupled with a lack of time. Scheduling outside entities can be even trickier to coordinate than individual student schedules, as well as coordinating with traditional university class schedules. Kristen Bugos, Assistant Professor of Music Education at East Texas Baptist University, has found a creative way to provide realistic teaching opportunities for her students and a service to the community.

Dr. Bugos established a partnership between the university and the local homeschool community. As a part of their degree program, music education students take a two-semester sequence of elementary methods classes. Once a week during the second semester, these music education students teach a group of approximately 10 elementary-age homeschool students. Initially, each music education student is responsible for a 10-minute lesson segment, planned in cooperation with two other classmates to create a complete 30-minute lesson.

For each lesson, the music education students must prepare a lesson plan and follow up with a written reflection. By the end of the semester, they are individually responsible for planning and executing a full 30-minute lesson. The music

Collaborating with community resources can result in new opportunities to prepare students for the challenges of student teaching.

COLLEGE NOTES IMPORTANT DATES May—Renew your TMEA membership online.

May—Attend your spring Region meeting (see page 2 for details).

June 1—Deadline to submit proposals online for the 2016 TMEA convention (see page 8 for details).

June 30—All TMEA memberships expire.

August 20—Liability insurance purchased through TMEA expires.

October 9—College Division Fall Conference in Austin.

October 15—Call for papers for the 2016 TMEA Clinic/Convention Research Poster Session.

February 10–13, 2016—TMEA Clinic/ Convention in San Antonio.

Southwestern Musician | May 2015 61

Texas Lutheran University School of Music

SCHOLARSHIP AUDITIONS Scholarships are available for both music and non-music majors. These awards are intended to provide recognition for scholarship and talent in the study of music.

For specific qualifications for each award, visit www.tlu.edu/music, or scan the QR code at the bottom right with your smartphone.

SCHOOL OF MUSIC DEPARTMENT HEADS

SCHOLARSHIP AUDITION DATES:

Beth Bronk Director of Bands bbronk@tlu.edu

Saturday, January 17, 2015 Sunday, February 22, 2015 Saturday, March 28, 2015 Saturday, April 25, 2015

10:00 a.m. to 12:00 p.m.

1:00 p.m. to 3:00 p.m.

1:00 p.m. to 3:00 p.m.

1:00 p.m. to 3:00 p.m.

BACHELOR OF MUSIC IN ALL-LEVEL MUSIC EDUCATION BACHELOR OF MUSIC IN PERFORMANCE BACHELOR OF ARTS IN MUSIC Accredited by the National Association of Schools of Music

Douglas R. Boyer Director, School of Music and Director of Choral Activities dboyer@tlu.edu 830.372.6869 or 800.771.8521

Shaaron Conoly Director of Vocal Studies sconoly@tlu.edu Eric Daub Director of Piano Studies edaub@tlu.edu Eliza Thomason Director of Strings ethomason@tlu.edu

To Our Graduating Senior Members: Congratulations on completing this chapter in your lifeâ&#x20AC;&#x2122;s development!

We hope that the experience preparing for an exciting and challenging music career has been IXOĂ&#x20AC;OOLQJ DQG ZH ORRN IRUZDUG WR \RX VKDULQJ \RXU VNLOOV DQG WDOHQW LQ a professional capacity.

education students who are not teaching at the time observe and offer feedback to their peers. Dr. Bugos observes, â&#x20AC;&#x153;I have been pleased with the way they learn from each othersâ&#x20AC;&#x2122; experiences and incorporate othersâ&#x20AC;&#x2122; feedback into their own lessons.â&#x20AC;?

The ETBU music education students recognize the value in this activity. Jacob Pierce, a current student teacher, reflected on his experience teaching homeschoolers as a part of his methods training: â&#x20AC;&#x153;Teaching the homeschool students allowed for a safe and controlled environ-

ment for getting my feet wet in teaching, which gave me a great deal of confidence and the experience I needed when I started student teaching.â&#x20AC;?

Another student teacher, Hannah Green, identified specific tools she gained in the process: â&#x20AC;&#x153;It prepared me for actual teaching because . . . it showed me that sometimes I need to break it down more; I need to slow down instead of moving on to the next thing.â&#x20AC;?

The other beneficiary of this program is the homeschool community. Without

SACRED MUSIC AT OLLU

Youâ&#x20AC;&#x2122;re an Active Member Now :KHQ \RX UHQHZ \RXU 70($ PHPEHUVKLS WDNH SULGH LQ FKDQJLQJ your member type from Student to Active.

When you select Active DV \RXU PHPEHU W\SH you become a member ZLWK IXOO EHQHĂ&#x20AC;WV joining the many thousands of music HGXFDWRUV ZKRVH legacies live on in this professional association.

The TMEA staff and ([HFXWLYH %RDUG ORRN IRUZDUG WR VHUYLQJ \RX as you join this most valued profession!

OUR LADY OF THE LAKE UNIVERSITY OFFERS: Bachelor of Music in Sacred Music Bachelor of Music in Sacred Music with a concentration in Mariachi Minor in Music THE PROGRAM EMPHASIZES: Choral conducting Ethnomusicology Mexican-American music Music ministry Music theory Music history Music technology Performance study

APPLICATION AND SCHOLARSHIP AUDITION DAYS The OLLU Music Department holds application and scholarship audition days in the spring.

To apply for an audition: 1. Apply to Our Lady of the Lake University at www.ollusa.edu/Apply 2. Request a Music Program Application packet from Dr. Elizabeth Dyer, Music Department Head 3. Prepare your audition according to the provided guideline 4. Contact Dr. Dyer (email preferred) to request an audition time

&T 'NK\CDGVJ &[GT Ä˝ GZV Ä˝ GF[GT"QNNWUC GFW Ä˝ $ (KPG #TVU $WKNFKPI www.ollusa.edu/MusicDept Southwestern Musician | May 2015 63

ETBU students lead a music lesson with several homeschool students.

a program like this, most of the participating students would not have access to regular, sequential music instruction.

Nikki Dement, parent of two homeschoolers, commented, “Where else could my homeschooled children experience working with six different teachers in a round-robin format with a ridiculously low student/teacher ratio? They were

exposed to multiple instruments, cultures, and teaching styles. In addition, they learned the critical connection between music and math. I could not be more pleased with their experience, and we are ready to sign up again.” Nikki’s nineyear-old son Everett proclaimed, “I like that they gave me an opportunity to be a musician!” Another nine-year-old noted, “I liked my instrument; it made a cool sound. I loved that parents got to listen to our music, and I loved that I got to switch instruments to see how they sounded.” A 13-year-old student observed, “I liked that it helped me understand the math relationship with the eighth and the quarter.

I didn’t know that music was like math.”

Having offered this program for the past two years, Dr. Bugos reflected, “I think this is the very best thing I have done for my music education program!

And at the same time, we are providing a service to a portion of our community that often has minimal music education.”

Partnering with the homeschool community has been a perfect fit for the music education program at ETBU. As you look forward to the fall semester, consider the unique opportunities for partnership in your university’s community.

Wanted: Your Feedback Clinic proposals for the 2016 TMEA Clinic/Convention can now be submitted online and are due by June 1. To submit, go to www.tmea.org/clinicproposals. So that TMEA can respond to our members’ request to improve our clinic offerings, be sure that your clinic proposal reflects a well-thought out plan for what and how you will present and identifies your intended audience. In addition, all of the clinic proposals submitted by June 1 will be made available for member feedback before the selection process begins. Please take part in this first-time initiative to allow our members to have input into what clinic sessions will be offered at next year’s convention. For more information on clinic proposals, see the details below and on page 8.

Submit a Proposal for the 2016 Clinic/Convention 300+ Clinics Will Be Selected

Attendees Have Spoken

Before You Submit

Offering over 300 professional development clinics is one of the most amazing aspects of the TMEA Clinic/Convention!

With some of our most wellreceived clinics presented by members just like you, it’s time to create a detailed proposal to submit for next year’s event.

According to attendees, the following are the most important clinic topics:

Your proposal should offer a complete summary of what you will present, and the title should be an obvious indicator of the content. The information you submit will be shared with members who will rate their interest in clinics to help us in clinic selection and room assignment.

Rehearsal techniques, teaching methods, classroom management, technology integration, repertoire selection, instrument methods, recruiting/retention, elementary teaching methods, urban/rural challenges, conducting techniques, special needs instruction.

www.tmea.org/clinicproposal | Due by June 1 64 Southwestern Musician | May 2015

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