May 2016 Southwestern Musician

MAY M AY 2016

20 20 2016 01 16 Baylor Flute Seminar June 5-11

High School Band and Orchestra Camp Band Grades 9-12/Orchestra Grades 10-12 June 12-18

Middle School Band and Orchestra Camp Grades 7-9 June 19-25

Summer Piano Institute June 19-25

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Summer Organ Institute June 26- July 2

All-State Choral Music Camp July 5-9

MAY2016 8 4

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I S S U E

contents

9

features

V O L U M E

How’s Your Balance? . . . . . . . . . . . . . . . . . . . . . . . . . . 21 A recent survey of TMEA members revealed much about music teachers’ workload and stress and yielded a myriad of strategies for achieving a healthy balance.

BY KAREN CROSS

Renew Your Membership and More. . . . . . . . . . . . . . 33 You can now renew your TMEA membership for the 2016–2017 year, purchase liability insurance, and more. Check this off your list now and have less to do at the start of a new school year.

BY SUSAN DAUGHERTY

Leaving a Legacy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 After dedicating a career to music education, learn how this retired TMEA member will continue her legacy.

21

BY RUTH KURTIS

columns

Health & Wellness in the Music TEKS. . . . . . . . . . . . 51 7KH UHYLVHG ÀQH DUWV 7(.6 LQ HIIHFW ZLWK WKH FXUUHQW VFKRRO \HDU include components about health and wellness for musicians. Learn more about these new components that should be included in your instruction.

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

by Dinah Menger

BY KRIS CHESKY AND SAJID SURVE

Executive Director’s Notes.................11

by Robert Floyd

Band Notes ............................................................15

by Joe Muñoz

Orchestra Notes ..............................................35 Vocal Notes ...........................................................45

by Robert Horton

Elementary Notes ..........................................59

by Juli Salzman

College Notes .....................................................64

by Si Millican

updates

by Penny Meitz Attend Your Spring Region Meeting ........................................................ 2 Submit a Proposal for the 2017 TMEA Clinic/Convention .................... 9 Enjoy Your Summer! ...............................................................................31 Thank You, Southwestern Musician Advertisers .................................63

On the cover: Students in the Fort Bend ISD Elementary Honor Choir perform during the 2016 TMEA Clinic/Convention. Photo by John Kneten.

Southwestern Musician | May 2016

1

Editor-in-Chief: Robert Floyd

Attend Your Spring Region Meeting

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

Managing Editor: Karen Cross

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

Go to www.tmea.org/ďŹ ndmyregion to conďŹ rm your Region.

Region Date

Time

Location

TMEA Executive Board

1

May 14

10:00 a.m. meeting, Amarillo HS 9:30 a.m. food

President: Dinah Menger

2

May 21

10:00 a.m.

Guyer HS

d.menger@sbcglobal.net :HVWFUHVW 'ULYH $UOLQJWRQ ² )RUW :RUWK ,6'

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

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

Band Vice-President: Joe Muùoz munozj@pearlandisd.org 3775 South Main Street, Pearland, 77581 281-997-3219 – Pearland HS

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

Vocal Vice-President: Robert Horton rhorton@conroeisd.net :HVW 'DYLV 6WUHHW &RQURH ² 7KH :RRGODQGV +6

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

3

May 14

10:00 a.m.

Lake Highlands HS

4

May 13

5:00 p.m.

Mt. Pleasant HS

5

May 1

2:00 p.m.

Martin HS

6

April 23

10:00 a.m.

Lee HS

7

May 14

10:00 a.m.

Graham HS

8

May 7

10:00 a.m. meeting, Midway HS 9:30 a.m. food

9

May 7

9:00 a.m.

.OHLQ &ROOLQV +6

10

May 2

6:30 p.m.

Lamar Univ

11

April 30

12:00 p.m.

Southwest HS

12

May 1

2:30 p.m.

Madison HS

13

May 1

2:00 p.m.

George Ranch HS

14

May 14

10:00 a.m. meeting, Del Mar College 9:30 a.m. coffee

15

April 24

2:00 p.m.

Nikki Rowe HS Auditorium

16

May 2

5:00 p.m.

Frenship HS Alvin JH

17

May 14

9:30 a.m

18

April 23

10:00 a.m. meeting, Anderson HS 9:30 a.m. food

19

May 7

10:00 a.m.

Deer Park HS, North Campus

20

May 14

9:00 a.m.

Duncanville HS

21

May 7

10:00 a.m.

UT/Tyler Fine Arts Complex

22

May 21

11:00 a.m. meeting, UTEP 10:00 a.m. UIL

23

May 14

9:00 a.m. meeting, 8:00 a.m., food

Alief Taylor HS

College Vice-President: Si Millican si.millican@utsa.edu One UTSA Circle, San Antonio, 78249 210-458-5334 – UT/San Antonio

TMEA Staff Executive Director: Robert Floyd | UĂ R\G@tmea.org Deputy Director: Frank Coachman | fcoachman@tmea.org Administrative Director: .D\ 9DQODQGLQJKDP | kvanlandingham@tmea.org Advertising/Exhibits Manager: Tesa Harding | tesa@tmea.org Membership Manager: Susan Daugherty | susand@tmea.org Communications Manager: .DUHQ &URVV | kcross@tmea.org Financial Manager: /DXUD .RFLDQ | lkocian@tmea.org Information Technologist: Andrew Denman | adenman@tmea.org Administrative Assistant: Rita Ellinger | rellinger@tmea.org

70($ 2IÀFH Mailing Address: 3 2 %R[ $XVWLQ 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.

24

May 21

10:00 a.m.

3ODQR :HVW 6+6

25

May 21

10:00 a.m.

0F.LQQH\ 1RUWK +6

26

April 26

6:00 p.m.

Stony Point HS

27

May 14

9:00 a.m.

Cypress Creek HS

28

May 14

10:00 a.m.

Harlingen HS

29

May 21

12:00 p.m.

Stevens HS

30

April 23

10:00 a.m.

Chisholm Trail HS

31

May 14

10:00 a.m.

Grapevine HS

32

April 26

6:00 p.m.

Vista Ridge HS

33

May 7

9:00 a.m.

Dekaney HS

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 1DWLRQDO E\ +DUODQ %HOO 3XEOLVKHUV ,QF 3XEOLVKHG ² E\ 'U + *UDG\ +DUODQ 3XUFKDVHG LQ E\ ' 2 :LOH\ 7H[DV 0XVLF (GXFDWRU ZDV IRXQGHG LQ E\ 5LFKDUG - 'XQQ DQG JLYHQ WR WKH 7H[DV 0XVLF (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.

2

Southwestern Musician | May 2016

2016 SUMMER MUSIC CAMP SERIES Texas Summer Flute Symposium Sunday, June 12th - Friday, June 17th Dr. Julee Kim Walker Texas A&M University-Commerce Sarah Jackson Los Angeles Philharmonic Conor Nelson Bowling Green State University

Leadership, Drum Major & Colorguard Camp Sunday, June 19th – Thursday, June 23rd Frank Troyka Conn–Selmer Inc., System Blue Education Koji Mori Lassiter HS, GA, BOA Drum Major Institute Lauren Potter Texas A&M University-Commerce

Blast of Brass Sunday, July 10th – Saturday, July 16th

All State Choir Camp Wednesday, July 6th – Saturday, July 9th Dr. Randall Hooper Texas A&M University-Commerce Cathy Koziatek Lovejoy HS Tara Sikon Creekview High School Joshua McGuire Sachse High School Ryan Forkner North Mesquite High School

Texas Vocal Arts Workshop Wednesday, July 24th – Saturday, July 30th Dr. Jennifer Glidden Texas A&M University-Commerce Dr. Corey Trahen Northwestern University William Applewhite Northwestern University, Strauss Theatre

% < ' , 1 $ + 0 ( 1 * ( 5

PRESIDENT’S NOTES

Mindful connectivity

H

May—TMEA memberships for 2016–2017 can be renewed online.

May—Attend your spring Region meeting.

June 1—Deadline to submit proposals for the 2017 TMEA Clinic/Convention.

June 30—All 2015–2016 TMEA memberships expire.

February 8–11, 2017—TMEA Clinic/ Convention in San Antonio.

earing certain songs can evoke detailed memories of the past. For me, hearing Karen Carpenter’s “Close To You” takes me back to that carefree summer when I was 12 years old. I can smell the Coppertone and see the faces of my girlfriends as we sang every word together. I remember how proud I felt when those same girlfriends told me I could really sing. I knew my voice was truly a gift to the world that summer!

I cannot sing Randall Thompson’s “Alleluia” without recalling the day that my beloved high school choir director, Dr. Dan Rash, introduced this song to our choir and I knew that I wanted to do what he did. The sound of wind chimes brings back my first performance of Eric Whitacre’s “Cloudburst” and how moved my choristers were by the experience of that profound work.

The children’s song “I Can Sing a Rainbow” always brings tears to my eyes because my mother sang it to me and I sang it to my three beautiful babies. On a more pragmatic note, I cannot remember the order of the alphabet without humming Charles Bradlee’s 1835 arrangement of the alphabet song. (Thank you, Wolfgang.) These are but a few of the songs that are part of my melodic memory bank that will forever connect me to certain people and our shared experiences.

I share these memories as a Caucasian female raised in the ’50s and ’60s surrounded mostly by students who looked just like me. Current statistics

Music is a higher revelation than all wisdom and philosophy. Music is the electrical soil in which the spirit lives, thinks, and invents.—Ludwig von %HHWKRYHQ Southwestern Musician | May 2016

5

paint a very different picture of an everchanging demographic. For example, of the 87,000 students enrolled in my school district, 39,000 come from nonEnglish-speaking families. This student ratio applies to many other large school districts in Texas. Research shows that cultural disconnect, including language barriers, leads to increased dropout rates and a lack of involvement in middle and high school activities (including fine arts).

In today’s classrooms, asking students to remove their earbuds is as common as asking them to take their seats. Even the most economically disadvantaged students most likely have some sort of music listening source. These same students have extensive playlists and knowledge about the music they are interested in, and no two lists will be alike. Musical tastes begin early! Preparing for and teaching music to such diversity can be daunting, but I believe music educators can bridge this gap, mindfully merging and weaving together diverse cultures, personalities, and backgrounds with lasting effects.

I believe involvement in school music programs can build confidence and create a sense of belonging for every type

6

Southwestern Musician | May 2016

of young person, no matter their background. I believe that the unique and creative atmosphere found in great music programs gives the most isolated young person a sense of place and purpose.

I believe that music offers a lifeline to children of all ages who are over-tested, stressed out, and attempting to learn in a creative void. Cultural and societal differences diminish when music-making becomes the central focus. I believe that music creates its own culture. I know that our state is filled with dedicated music educators who also believe in this very creed. However, we must constantly work to assess and review the musical tapestry we weave.

I pose the following questions to my colleagues in rehearsal halls, university music education classes, and elementary music rooms: • What are our students listening to?

• Are we, as music teachers, staying current and open-minded in understanding and acknowledging their preferred music, melodic memories, and cultural imprints?

• Can we buy into their music so that they will buy into ours?

• Why do they need what we are teaching?

• How do we bridge the gap between what students love and what they need to become well-rounded music lovers?

• Are our methods and materials archaic?

• Are we retaining or losing large numbers of students?

• Are universities experiencing declining numbers in students choosing music education or performance as their field of study?

• Do our university music students represent our diverse and changing demographic?

• And, finally, how do we ensure that each student leaves us with shared and meaningful music memories to last a lifetime?

To seek answers to these questions, to share stories of success in teaching music to a diverse student population, and to discuss ways to prepare for music

SUMMER

BAND concert band camp june 12 - 16, 2016

drum major camp june 19 - 23, 2016

marching leadership camp june 19 - 23, 2016

color guard camp june 19 - 23, 2016

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

summer strings camp july 10 - 15, 2016

texas conducting workshop july 5-9, 2016

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

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

one last look september 10, 2016

music.uta.edu/camps

42 N D A N N UA L

Buccaneer Marching Band Festival Blinn College - Brenham, Texas

Saturday, Oct. 1, 2016 FRQWHVW WR EH KHOG DW %UHQKDP ,6' &XE VWDGLXP DUWLĂ&#x20AC;FLDO WXUI

1st, 2nd & 3rd PLACE AWARDS IN CLASSES 1A-6A CAPTION AWARDS IN EACH CLASS FOR: DRUM MAJOR - COLOR GUARD - DRUMLINE - SOLOIST First 35 entries accepted Entry deadline Sept. 2, 2016 $ 375 entry fee Entry fee includes DGMXGLFDWLRQ DQG D Ă DVK GULYH RI \RXU performance.

Featured judges: &KULV 0DJRQLJDO 'LUHFWRU *HQHVLV 'UXP DQG %XJOH &RUSV &KLFR 3RUWLOOR $XVWLQ ,6'

For complete information and entry form contact: -LOO 6WHZDUW 'LUHFWRU RI %DQGV MVWHZDUW#EOLQQ HGX

(QWU\ IRUPV DYDLODEOH DW

ZZZ EOLQQ HGX YSD PXVLFBIRUPV KWPO

Texas A&M Universityâ&#x20AC;&#x201C;Central Texas and Temple College offer Music Beginning Fall 2016 Texas A&M Universityâ&#x20AC;&#x201C;Central Texas is partnering with Temple College to offer concentrations in instrumental music and choral music with the Bachelor of Science in Interdisciplinary Studies.

Auditions for this upper-level program are April 16 at Temple College.

Interested students should call 254-298-8555 or email colin.mason@templejc.edu.

students of the future, TMEA will sponsor a Summer Dialogue including educators from all divisions of our organization. With the insights and ideas from our members, TMEA can better address and support the changing needs, concerns, and observations of our valued teachers.

In preparation for this Summer Dialogue, I would like to gather information from members who have experience teaching in Title I schools, culturally diverse populations, waning programs, and inner-city schools. Please feel free to share stories of successes, ongoing concerns, informed observations from the trenches, and any other topics that we can bring to the conversation. Send your experiences and thoughts to me via email at dinah.menger@fwisd.org.

I look forward to a new TMEA thinktank that can provide options, a sounding board, and possible solutions to hard-working teachers delivering music education in myriad environments.

As the school year draws to its inevitable end and the students in your charge leave for a while or forever, I hope you can look back with satisfaction on your work with them, beside them, and for them, content in the knowledge that the music made together will forever be an important part of their musical memory bank.

To quote Stevie Wonder, â&#x20AC;&#x153;Music, at its essence, is what gives us memories. And the longer a song has existed in our lives, the more memories we have of it.â&#x20AC;?

Do You Know Your Region?

Some assignments have changed. Check your districtâ&#x20AC;&#x2122;s assignment at: tmea.org/ďŹ ndmyregion Region Meeting Details on Page 2

8

Southwestern Musician | May 2016

2017 TMEA Convention Proposals Deadline: June 1

WWW.TMEA.ORG/CLINICPROPOSALS

CLINICS & MUSIC SHOWCASES CLINICS: The 2017 TMEA Clinic/Convention will feature approximately 300 clinics for current and future music educators.

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

WHAT ATTENDEES WANT $WWHQGHHV KDYH VSRNHQ DQG WKH ([HFXWLYH %RDUG is listening. The following are the top ten topics, in priority order. Consider this as you apply: 1. Teaching methods for all levels/disciplines

HOW DO I SUBMIT? 1. Work on a meaningful title, concise and accurate description, and thorough details of what you will present and how it will benefit attendees in their daily work.

2. Create a 1â&#x20AC;&#x201C;2 page PDF 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.

2. Rehearsal techniques 3. Classroom management 4. Repertoire selection 5. Instrument methods 6. Technology integration (for classroom and rehearsal use) 7. Recruiting/retention 8. Conducting techniques 9. Urban/rural challenges & solutions 10. Special-needs instruction

Southwestern Musician | May 2016

9

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EXECUTIVE DIRECTOR’S NOTES

Are music teachers burned out?

O

May—TMEA memberships for 2016–2017 can be renewed online.

May—Attend your spring Region meeting.

June 1—Deadline to submit proposals for the 2017 TMEA Clinic/Convention.

June 30—All 2015–2016 TMEA memberships expire.

February 8–11, 2017—TMEA Clinic/ Convention in San Antonio.

ur members have always been very responsive when surveyed, but your response to our recent email requesting information on stress and burnout among music teachers far exceeded the response levels of past surveys. This greater participation speaks to the critical nature of this topic. The goal of the research was not so much to gather data on the percentage of members experiencing burnout but rather to collect ideas and definitive practices for how members are successfully maintaining balance in their professional and personal lives, including wellness-related practices.

We initially feared that we would hear only from teachers for whom stress and burnout were serious issues and not from those who had helpful ideas to share. Our concern was unfounded, and I hope you will glean from the survey results a practice or two that will be of benefit to you.

Sometimes we as teachers, and music teachers in particular, believe we are the only ones who have these thoughts of burnout and possible career change, but it only takes a brief amount of research to determine that such a reaction to a career pathway is commonplace throughout the workforce.

So why are teachers leaving? In a recent study by the American Psychological Association, they noted that 65% of all Americans cited work as a top source of stress in their lives, and only 37% of Americans surveyed said they were doing an excellent or very good job managing stress. Additionally, just 36% said their organizations provide sufficient resources to help them manage that stress.

According to APA, workforce stressors range from low salaries, to

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Southwestern Musician | May 2016 11

excessive workloads, few opportunities for growth or advancement, lack of social support, and not having enough control over job-related decisions, as well as conflicting demands or unclear performance expectations.

Sound familiar? Certainly these stressors are not limited in any way to teaching.

Additionally, the Edutopia website shares that teachers leave the profession because of inadequate preparation for dealing with the kinds of learning and behavior problems they face in the classroom, lack of opportunity to engage in meaningful exchanges of ideas with other teachers, and rebellion against test-centered pedagogy and its routinization.

So what about teachers in Texas? At a recent Senate Education Committee Interim hearing, TEA reported that onethird of the teacher workforce has taught five years or less. The average experience in Texas classrooms is 11 years. In school districts with enrollments under 500 students, one-quarter of the teaching workforce leaves each year. We do not have data specific to music education. To counter this classroom teacher loss, this past year our teacher preparation programs pro-

12 Southwestern Musician | May 2016

duced 30,000 new teachers, two-thirds of whom were not prepared by a traditional four-year program—a topic of discussion for another time.

So how do we ease the burden of stress in our day-to-day work environment?

Again, hopefully the survey results will be of assistance, but we must never lose sight of what got us into this profession in the first place—our passion for music and for sharing that joy with the students we teach. Having taught for 26 years in the public schools in our state, I have ridden the emotional roller coaster like many of you, and yes, during those down times I too had the thoughts of whether I had chosen the right profession. And as a young teacher, those emotional swings came close together—mostly downward. Why could I not get the beginning clarinetist to successfully cross the break that day, or why was I so unsuccessful in maintaining discipline in my concert band rehearsal?

However, I began over time to not let those situations erode my spirit but instead to relish the days when my students shaped a musical phrase that truly grasped the composer’s intent, and I could see it in their eyes. When the beginning

clarinetist did finally successfully cover all the holes with the right hand fingers to play a low note, I shared the simple joy with that student that came from their success.

Because of our passion that got us into this profession, I believe music educators feel more guilt than others when we think about leaving a teaching position.

We do not want to be perceived personally or professionally as anything less than successful. But always remember that in your day-to-day experiences with your students, whether elementary, secondary, or college, after they are gone they will not remember the trophies on the wall as much as the performances they gave, the music-making they shared, and how you made them feel. Basing daily decisions on this premise will certainly go a long way toward professional success and joy.

So enjoy the survey results reported on page 21, and look forward to future articles in SOUTHWESTERN MUSICIAN that will share successful stories about maintaining balance in one’s life while teaching the subject we all dearly love.

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TEXAS LUTHERAN UNIVERSITY

SUMMER MUSIC ACADEMY for Band & Orchestra

JUNE 26–JULY 1, 2016

Apply now:

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BAND NOTES

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In Memoriam STEVEN LOUIS RUDIG May 3, 1959–January 21, 2016

Winding down

T

May—Renew your TMEA membership online.

May—Attend your spring Region meeting.

May 14—Invited high school jazz ensemble application postmark deadline.

June 1—Deadline to submit proposals for the 2017 TMEA Clinic/Convention.

June 15—Deadline for Region Honor Band winners to be postmarked to Area Audition Chair.

June 23–24—Area Honor Band listening sessions.

June 30—All 2015–2016 TMEA memberships expire.

June 30—Deadline for Area Honor Band winners to be postmarked to State Band Chair.

July 21–24—Texas Bandmasters Convention in San Antonio.

February 8–11, 2017—TMEA Clinic/ Convention in San Antonio.

his time of year, I’m often asked by other teachers, “Aren’t you glad the year is winding down?” My response is, “Well, this is the busiest time of year for me.” I’m sure that like me, your end-of-year calendar is filled with performances, banquets, auditions, leadership evaluations and selections, instrument selection, instrument drives, planning for next year, and graduation.

One of the most important things to do all year, but especially at the end, is to take time to evaluate what worked and what might need some adjustment or more focus next year. In this very busy time, it is often difficult to find the opportunity to look back at the experiences we shared while working toward performances and program goals. Moving your program and yourself forward in a positive direction requires program-wide evaluation and personal self-reflection.

When reviewing your successes and what might need adjustment, it is important to consider different perspectives. Involving the students can give you a viewpoint that is very different from your own. At times, our observations are quite different from those who are working through the process of getting better. Student involvement in the evaluation process is one of the most effective ways to create a new culture in the band program. It is possible to take this model and apply it to the view of parents, administrators, and program staff. When people are involved in the review of the year, they feel empowered and realize that their input is needed and appreciated.

In that spirit, it is time to re-evaluate our TMEA Honor Band policies and

Student involvement in the evaluation process is one of the most effective ways to create a new culture in the band program.

Southwestern Musician | May 2016 15

procedures. This review process happens on a two-year cycle and is important to the future and health of the Honor Band process. A committee will soon be formed to seek input from a cross-section of the classifications and parties involved. This Honor Band Review Committee will evaluate the entire Honor Band process.

The committee will take a comprehensive look at new ways to submit recordings, recording standards, administration procedures and guidelines, and ways to ensure that the spirit and philosophy of the Honor Band process are at the forefront.

As you reach the end of the school year, make sure you take time to celebrate your students’ accomplishments and acknowledge that you have successfully made it to the end of the marathon.

Rest, recharge, cherish time with family and friends, and then get ready to take it

to a higher level next year!

Region and Area Honor Band 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 on the TMEA website. Understand and adhere to not only the competition rules but also the spirit and purpose with which the honor band process is intended.

Please be conscientious of your students’ time and energy and model best ethical practices with regard to scheduling and recording. The website addresses several scenarios that involve ethical recording practices, but not every possible situation is represented. When in doubt, ask.

Also, please be thorough in completing the entry process by affixing all neces-

sary signatures, submitting your superintendent’s approval letter (junior high and middle schools), 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. If you are not submitting a recording, you must return to the online Honor Band entry system and select “not entering.” Should you choose to withdraw your entry during the process, please do so in writing as prescribed in the rules document and notify your Region Band Chair. Once the competition listening sessions begin, make sure that your result is accurately reflected on the website when the tabulation file has been uploaded to TMEA. The website

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16 Southwestern Musician | May 2016

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The Essential Role of Student Equipment

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Advice from Gina Scheer Gina Scheer is the director of the Lone Star Clarinet Camp, which has become the largest summer clarinet camp in Texas since its founding in 2013. Based in the Dallas area, the camp serves students entering 7th, 8th and 9th grades.

Could you tell us a little bit about your clarinet camp?

Our 2015 Lone Star Clarinet Camp included 60 middle school participants and 14 high school volunteer leaders. Since its conception, many young clarinetists have been inspired by three fantastic guest artists: Greg Raden, Sam Ross, and Paula Corley.

Each summer we bring in new artists, masterclass teachers, and music to deliver a fresh and unique experience.

This camp is a great supplement to a summer band camp, allowing studentss to perform in a special ensemble, the clarinet choir, and to focus on clarinettspecific fundamental development and d technique building. This summer we aree expanding to the North Austin area!

What are your thoughts on equipment for students?

As a clarinet teacher and former band director, I know students can either experience fast success or feel trapped and frustrated depending on their equipment. A quality instrument is a requirement for an excited child who wants to sound like they know they should, and that quality instrument begins where the sound is produced - with the reed and mouthpiece. We can do our best to teach them how to form an embouchure and use their air, but until they are playing on a high quality mouthpiece and reed suited for them, they will not get the desired sound.

Vandoren Regional Artist Gina Scheer

The reed and mouthpiece play the most important role in sound production for a single reed player.

What products do you recommend for your students?

For beginners, I recommend the Vandoren M13 Lyre mouthpiece and V12 reeds. I love the focus and warmness my students get in all registers while still being able to blow freely as a young player. There is just enough resistance that requires the students to have strength in their embouchure as they develop. Once students reach 8th grade and are entering high school, many continue playing on the M13 Lyre, and some find another mouthpiece that is better suited for them like the M15 or M30.

I love the new Black Diamond Ebonite (BD5) mouthpiece for my most advanced students who play with a lot of air. The best thing about it is the darkness and beauty in the sou sound even at the softest dynamic and in the t highest register. With the right stud student, the BD5 checks all the boxes!

Of course, you canâ&#x20AC;&#x2122;t forget about the ligature! Sometimes this important part of the sound production puzzle gets left out, and students have a great reed and mouthpiece only to have their articulation sounding muddy and their reed not responding as it could. I prefer all my students to play with the gold-plated M|O ligature.

As a Vandoren Regional Artist, it has been fun to witness the many gasps and â&#x20AC;&#x2DC;WOWâ&#x20AC;&#x2122; moments when students try this ligature!

For more on Vandoren and how it can benefit you and your students, visit www.bit.ly/vandorenusa

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should denote “advancers” from Region to Area and Area to State.

Area Honor Band listening sessions are on June 23–24. Judging panels will adjudicate the same classification for all Areas at a given listening center on consecutive days. Adjudication panels and Area Host/Chair information may be found on the Honor Band Competition and Rules webpage 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 21, in conjunction with the first day of the Texas Bandmasters Association convention in San Antonio.

Spring Region Meetings By this point in the semester, the cycle of annual spring Region meetings is well underway (see page 2 for details).

Before attending a meeting, confirm your Region assignment at www.tmea.org/ findmyregion. At this time, the Region chairs for the upcoming biennium will be elected. We have a number of Regions without a chair right now because of the realignment, so consider stepping up to serve. Please make it a point to not only attend this important meeting but also get involved on the local level and let your

voice be heard on the important topics addressed in the meetings.

Invited High School Jazz Ensemble Application The postmark deadline for the submission of applications and supporting materials to perform at the 2017 TMEA Clinic/Convention as the invited high school jazz ensemble is May 14. Go to www.tmea.org/jazzapplication for additional information, applications, and submission criteria.

Clinic Proposals for TMEA 2017 The window for submitting clinic proposals for the 2017 TMEA Clinic/ Convention remains open until 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 2016 convention the most important topics for clinics were (in priority order): rehearsal techniques, instrumental pedagogy, and instructional methods. For detailed instructions for all clinic proposal submissions, go to www.tmea.org/ clinicproposals.

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 9, 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 music educators, and we are our best resource! Help your colleagues across the state by sharing what you know!

www.tmea.org/clinicproposals Southwestern Musician | May 2016 19

? e c n a l How’s Your Ba

by Karen Cross ome marathoners will tell you that the final 10K of a race is the most difficult. Even though they have 20 miles behind them and only 6.2 to go, they’re in pain. And despite that pain, they need to step up their pace. At this point, some marathoners hit the wall. They struggle to find the energy and will to finish what they’ve trained for so long to do.

Well into another school year’s final stretch, it might feel like you’re in the last 10K of your own marathon—hastening your pace to complete additional performances, competitions, standardized testing, group trips, recruiting efforts, and end-of-year tasks that have no musical relevance. Are you in a confident sprint to the finish? Or are you stumbling in a confused haze, searching for the motivation to make it across?

This is the time of year when many music teachers complain about being burned out, and some even begin to look for other work. As a professional organization of Texas music educators, we wanted to better understand how our members perceive their work load and its effects. We especially wanted to learn from those who have managed to achieve a healthy balance in their lives so we could share their valuable strategies. To that end, TMEA recently surveyed its active teacher members about workload, stress levels, and wellness. The information offered here is based on 3,378 responses (26% of our active membership). While we didn’t approach this as a scientific study, we do believe the results are significant and revealing, and we hope you find them helpful.

S

Who Participated?

The divisional affiliation of the survey participants aligns with the divisional representation of our 12,700+ active members. The grade levels taught also mirrors the profile of our total membership.

Participants’ teaching experience is also varied: • 121 are in their first year (4%) • 604 have taught 1–5 years (18%) • 672 have taught 6–10 years (20%) • 956 have taught 11–20 years (28%) • 1,025 have completed over 21 years of teaching (30%) Thanks go to all who participated. You helped establish a meaningful reflection of our membership through this survey.

What We Learned We asked questions about workload (hours worked, students taught), job-related stress, burnout, support systems, non-work activities, fitness, food choices, and more. We asked open-ended questions to gain advice from members in areas that could help teachers achieve better work-life balance. Given our space limitations, we can’t print everything we learned, so for even more feedback from this survey, go to www.tmea.org/balanceresults.

Hours Worked and Students Taught Survey results revealed that for most teachers, a 60-hour work week is often the norm. Over 70% reported spending more than 31 hours directly interacting with students each week. Within that group, more than 55% spend another 11–30 hours at school with other work. They also work up to 10 hours during the week at home. And on the weekends, most spend up to 10 more hours working from home.

We found that 59% of teachers usually arrive up to one hour before school starts, 38% arrive up to two hours early, and 3% are there two hours or more before the start time. In this final group, over 45% also stay more than two hours after school.

Southwestern Musician | May 2016 21

When the sun is shining and you have a lesson with a motivated group of learners, but still feel unable to face the day, then you are probably on the way to burnout.

—Agnes Enyedi Over 45% of our teachers reported being the only one responsible for the music instruction of their students, and the following results tell us that the majority of our teachers are instructing between 100 and 500 students: • 0–50 students: 3%

• 201–500 students: 34%

• 51–100 students: 11%

• 501+ students: 13%

• 101–200 students: 39% Job Stress Everyone experiences stress for many reasons every day.

Hearing a certain ringtone can immediately trigger negative thoughts; catching a glimpse of your unread email count can make you feel overwhelmed. While grounded by the desire to share your joy of music with your students, you are also responsible for so much that has so little to do with music. As our survey reflects, these other responsibilities are often what raise teacher stress levels. It’s interesting to note that first-year teachers are the only group with significant numbers who said that teaching students is very stressful. The following chart includes those elements of work that over 20% of members identified as very stressful and shows the difference between responses by first-year teachers and teachers with one or more years of experience: Elements Most Often Reported as Very Stressful 34% 40%

Work load/hours 19%

Inadequate Pay

33%

Discipline problems

32%

Administrative Work

24% 24%

Gaining Administrator Support

16% 23% 27% 22%

Gaining Parent Support Teaching Students

64%

25% 7%

<1 Year Experience

1+ Years Experience

Over 58% of teachers report that their job-related stress is high but is balanced by other activities/interests. However, 16% report having constantly high and unmanageable stress levels. With job stress at that level, burnout can become a real issue.

22 Southwestern Musician | May 2016

Are You Burned Out? We’ll admit that our stress levels spiked when we reviewed responses to the questions about teacher burnout. While unrealistic, we still didn’t want to learn that burnout was leading any member to consider a career change. However, of the 3,191 members who answered, 1,161 (37%) said they are considering a career change because of burnout. If you replied yes to that question, we hope that what you read here will help you know you’re not alone and will equip you with strategies to combat that burnout in the future.

The charts on the following page offer a view by TMEA division and by experience level of members who said they are currently burned out and who say they’re considering a career change because of burnout. When reviewing the charts, be sure to consider the number of member replies shown here as the response rates might be too limited to draw meaningful conclusions: Members Who Answered Questions About Burnout Years of Experience Division

<1

1–2

3–5

6–10

11–20

21+

Band

50

69

165

276

421

402

Orchestra

15

24

54

75

87

107

Vocal

28

48

101

139

194

207

Elementary

23

34

77

135

179

204

College

0

1

3

10

18

46

We also inspected this information by grade level taught, and within the middle and high school group, by division. That information is shared in charts on the following page as well.

What Others Say About Burnout In addition to our survey results, we reviewed several other sources on burnout. We focused mostly on teacher burnout, and where possible, music teacher burnout. Christina Maslach, a leading researcher in this topic, offers a notable definition of burnout: “A syndrome of emotional exhaustion, depersonalization (an unfeeling and impersonal response toward recipients of one’s instruction), and reduced personal accomplishment.”

Common advice from these resources conveyed that teachers need to realize that burnout is common, there are ways to cope with it, and it’s not necessarily a sign that you are in the wrong job.

These sources also explain that when people say they’re burned out, what they’re experiencing might not be severe enough to be classified in that way. For example, being exhausted by your job isn’t burnout. You simply have a very demanding job, mentally and physically, and it’s going to exhaust you. It should.

In May 2015, teacher trainer Agnes Enyedi explained, “All of us feel tired, even exhausted at times, but this is perfectly normal if you have a full schedule. Some of us may also have felt like calling in sick and staying in bed on a rainy Friday morning, just before a lesson with a challenging group. That’s also understandable. But when the sun is shining and you have a lesson with a motivated group of learners, but still feel unable to face the day, then you are probably on the way to burnout.”

Another researcher and presenter on the topic of music teacher burnout is Barbara McClain, professor of music education for the University of Hawaii in Honolulu. McClain has studied and published articles and an online instructional video on the

Music Teachers Who Report Being Burned Out and Music Teachers Considering a Career Change for That Reason Currently Burned Out:

By Years Taught/Division 0%

20%

40%

60%

Considering a Career Change:

By Years Taught/Division 80%

10%

20%

Band, 62% Orchestra, 46% Vocal, 56% Elementary, 62%

Band, 28% Orchestra, 38% Vocal, 40% Elementary, 50%

1–2 Years College, 0%

College, 0% Band, 60% Orchestra, 54% Vocal, 56% Elementary, 45% College, 67%

6–10 Years

Band, 36% Orchestra, 37% Vocal, 41% Elementary, 33% College, 33%

3–5 Years

Band, 56% Orchestra, 48% Vocal, 68% Elementary, 54% College, 70% Band, 47% Orchestra, 55% Vocal, 55% Elementary, 51% College, 39% Band, 43% Orchestra, 50% Vocal, 52% Elementary, 47% College, 39%

21+ Years

60%

Elementary, 17% College, 0%

College, 0%

11–20 Years

50%

Vocal, 29%

Vocal, 71%

3–5 Years

40%

<1 Year Orchestra, 7%

Elementary, 39%

1–2 Years

30%

Band, 30%

Band, 56% Orchestra , 53% <1 Year

0%

6–10 Years

Band, 40% Orchestra , 33% Vocal, 45% Elementary, 39% College, 40%

11–20 Years

Band, 38% Orchestra, 38% Vocal, 40% Elementary, 34% College, 39% Band, 35% Orchestra, 25% Vocal, 41% Elementary, 31% College, 26%

21+ Years

Overall Response: Currently Burned Out: 52% / Considering a Career Change: 37%

Currently Burned Out

Considering Career Change

Currently Burned Out

HS Vocal, 40%

MS Vocal, 44%

MS Orchestra, 38%

HS Band, 36%

MS Band, 37%

HS Orchestra , 25%

0%

HS Vocal, 55%

HS Orchestra, 43%

MS Orchestra, 57%

HS Band, 49%

MS Band , 53%

College, 32%

High School, 36%

Middle School, 40%

10%

Elementary, 34%

20%

College, 43%

30%

High School, 50%

40%

Middle School, 56%

50%

Elementary, 50%

60%

MS Vocal, 61%

Middle & High School Teachers by Division

By TMEA Division Only

Considering Career Change Southwestern Musician | May 2016 23

topic. We found her resources on this topic particularly informative. To read her publication “Music Teacher Burnout,” go to www.tmea.org/burnout-mcclain and to watch her instructional video on this topic at www.tmea.org/burnoutvideo.

As McClain states, if you’re interested enough to learn more on this topic, you’re probably not severely burned out. If you were, you wouldn’t have the motivation to learn more. With that, we’ll turn the focus to the survey questions that yielded answers by members who have learned how to achieve a balance in this demanding job.

Do What Works for You Teachers who reported having a healthy balance in their lives also reported much lower incidence of burnout. Their comments emphasize that when trying to achieving balance, one size definitely does not fit all. If you need to improve your work-life balance, you will have to make changes. So read the strategies our members offer and do something—now. If what you try first isn’t right for you, try something else. There isn’t a miracle cure for burnout, and there also isn’t a single remedy that can help everyone manage it. However, if you will do something to improve your work-life balance, you’re on the right track.

To Unplug or Not to Unplug?

You don’t have to look far to find stories about the influence of technology on our lives—positive and negative. With Internet connectivity on devices in our pockets or even on our wrists, we can be constantly informed and connected. Over 47% of teachers report that they answer emails and voicemails at any time of day, whether at work or at home. Depending on your perspective, this level of connectivity might bring you relief or stress.

While 36% of teachers report that their technology use is not an issue, the remaining 64% have designated times in their day as tech-free or they say they want to begin that practice.

Member Advice on Handling Emails and Voicemails • A weekly email bulletin to my students and parents usually keeps them in the loop so that my email is not too stressful.

• For stressful emails, click reply and delete the address in the “To” field so you don’t accidentally send before you’re ready.

Type away. Save to drafts. Let it sit for a while. Edit your response. Send (and blind copy an administrator if it is a serious issue).

• Don’t check email before bed!

• I set up email folders by event (Region, UIL, fall concert, etc.) and by group (department, choir, school, etc.), and I create one “To Do” folder. Every time I open an email I must either delete it, respond to it, or put it in a folder.

• I use the Remind app for two-way communication with parents for my afterschool groups. It is much more convenient because I can access it with my phone, iPad, or laptop. I can communicate with individual parents or groups. It allows me to set office hours and other customizations.

• I save the text of emails I will likely send again and flag that text for reuse the next year.

• I tell parents I prefer to be contacted by phone. Texts (and sometimes emails) tend to get confusing. I try to answer each voicemail the day I receive it.

• I check email and voicemail three times daily: morning, conference, and at the end of the day.

• I do not automatically have my work email connected to my phone. I have to log in to check it. I don’t want to see work emails until I’m in work mode.

• I print emails that require more time for a response and post them on a cork board next to my desk so that I don’t forget them.

• Unsubscribe to as much junk as possible and delete unimportant emails ASAP. When sending a possibly controversial email, get a coworker to proof it to ensure a professional tone is being used.

Is technology helping or hurting your work-life balance?

Regardless of how you use technology in your personal life, members repeatedly pointed out that it’s critical to limit responding to work-related emails while at home. Their comments didn’t focus just on the technology use but rather on how the convenience can lead to hasty replies you might later regret. Many members establish times during which they handle emails and voicemails (and they communicate that with parents to set an expectation). Some members view emails at home, but they won’t act on them until the workday. The following are just a few of the ways our members handle emails and voicemails to reduce the stress often associated with them.

24 Southwestern Musician | May 2016

Find Support Feeling completely isolated is one of the key symptoms of the most extreme burnout. And in the music teaching world, that’s a real concern. Many of our members serve as the sole music teacher on their campus, and music programs are often physically and programmatically segregated from the rest of the school. Our survey showed that more teachers who said they have no one to turn to for support answered that they are burned out and considering a career change (10% higher response rate).

With over 12,000 music teacher members in TMEA, we should be poised to prevent this experience of complete isolation.

If you’re not already, get connected by attending music teacher meetings and events (Region meetings, the TMEA convention, Regional workshops). If you’re new to the profession, join the TMEA Mentoring Network so you can establish a connection with a veteran teacher who is ready to listen and offer support during these first years (www.tmea.org/mentor). Veteran teachers who took this survey stressed the importance of having someone to turn to with your questions who can offer you support,

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objective criticism, and guidance. Even if you work with other music teachers, it’s important to have someone outside your work group who can be supportive and objective.

Sleep While this might be one of the most critical factors in reducing stress and maintaining balance, it’s also one we often sacrifice. We all know we need sleep and that it should be consistent. From our survey, we found that 56% of teachers usually get 6 hours of sleep or less, and 44% get 7 hours or more. If you’re in the first group, consider changing something in your routine to help improve your sleep habits.

Get Moving Of all the elements examined in this survey, the one that appeared to have the most radical influence on a healthy worklife balance is exercise. Overall, 48% of teachers believe they have a healthy balance. When you limit the responses to those who also report exercising daily, that healthy-balance percentage flies to 71%.

While most of our members report exercising at some level, 39% report not exercising at all, but within that group, 80% want to increase their exercise. If you’re physically able, this is clearly an area that can help you improve your work-life balance. One common point made by many members is that even when you don’t believe you have enough time to exercise, just do something.

The following are some valuable suggestions from members who are managing to incorporate exercise into their busy schedule.

treadmill, I can watch shows, read, or listen to music 30 minutes five times a week.

• Do it before work. Afterward, you are too tired! Go 30–45 minutes, and make it really count. It takes a while to get used to getting up even earlier, but it so worth it!

• Get a friend and make each other accountable!

• I change into my workout clothes before I leave work. This keeps me from backing out on my exercise plans.

I remind myself that my personal health comes first. All other possible successes of life are diminished if my personal health is reduced to back-burner status.

• Protein/energy shakes near the end of the workday help me feel like I have the energy to go to the gym.

• I cycle to and from work. It is a great way to start and end my workday and guarantees me at least a moderate amount of exercise and outdoor time almost daily.

• I started with 6 pushups and kept at it until I got to 50. Then I gradually added sit-ups and squats and some stretching.

Now I also do pull-ups and a few barbell exercises, and I plan to add walking and other exercises. This has been gradually growing for about two years. The big thing has been not to get overwhelmed by the pressure of adding too much at once.

• Do short workouts that are realistic. Start small so you do something—a 15-minute walk around the neighborhood is a good start. Get outside!

Find something you like.

Put it in your schedule.

Say no to other things to make this a routine.

You’re worth it!

Member Advice on Getting Exercise • As an applied music instructor, I exercise in between lessons to clear my head and alleviate the problems of sitting all day.

In those 10 minutes I do jumping jacks, pushups, planks, or burpees. It’s really helps in relieving stress.

• On days that I get home before 6 P.M., it is the first thing that I do with my husband and son. We all watch a 30-minute workout video together and do the exercises in our living room.

• I leave work in time to make it to the gym at least three times per week, no matter what. I started about a year ago, and I feel so much better now that I’m 20 pounds lighter.

• Going to the gym took too much time for me. On my home

• Too many of us approach exercise as optional—it’s not! You will feel better, have more energy, get sick less, get hurt less, and have a better life in general just by committing 30 minutes five times a week to you.

• I use an app called Seven. It’s just 7-minute workouts a day— very manageable for a busy schedule.

• Jog with the cross country team before school. The younger kids are slower. The coaches appreciate having someone out there to act as a sweeper on long runs. The kids love to see you out there with them.

• My partner teacher and I have made a YouTube playlist of Zumba videos that we work out to immediately after school.

We bring our clothes and project the video in my classroom.

• I get on the treadmill for a fast-paced walk for the duration of four songs. By not designating a specific time requirement, it feels simpler. Eventually you can add another song or intensity little by little.

Choose the Right Fuel Like finding time for exercise during the week, eating well also poses a significant challenge for many teachers. Over 47% of teachers responded that they have been trying to eating healthier lunches or they want to but don’t feel able. Fortunately, hundreds Southwestern Musician | May 2016 27

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of teachers provided advice on how they’ve been able to sustain a healthy approach to eating during the school day. As you review some of their ideas, keep in mind that those who reported daily exercise and eating well at lunch had a much lower rate of burnout and a much higher rate of a healthy work-life balance.

• Preparation is key. I eat lots of veggies and lean protein that I prepare. Drink lots of water! Dehydration in the afternoon is a major cause of fatigue.

• Cook breakfast ahead (e.g., breakfast casseroles and other things you can freeze for the week).

• Eating a few nuts or raisins or vegetables during the passing periods can help maintain energy.

• Put frozen fruit in a plastic bag, and by the time you have a break to eat it, it’s thawed but still cold.

• I always have SlimFast or Special K protein shakes and granola bars on hand for emergency lunch or pick-me-ups if I’m short on time.

• I boil several eggs and keep them at home to grab for a quick breakfast or snack. I keep fresh fruit, cheese, and crackers in my office to snack on. I try to keep things like hummus, guacamole, or soup on hand.

• I buy fully cooked frozen chicken breasts and salads from the store. Every day I bring a chicken breast and a salad. It’s quick, easy, and healthy. I could make them myself and save money, but I know I won’t!

• I set a 9:30 P.M. alarm on weekdays, and at that time, I pack my lunch for the next day and start getting ready for bed.

• I often use a food diary to keep track of what I’m eating throughout the day. This helps me be accountable for the unhealthy snacks I would otherwise absently be eating.

• I pack three or four small nutritious snacks (protein bars, low-fat cheese sticks, a boiled egg, etc.) and eat one snack during each of my 15-minute breaks because I don’t have a proper lunch break. This keeps me going, and keeps body chemistry steady.

• I plastic-wrap individual servings of an egg casserole and put them in the freezer. In the morning, I toss one in my lunch bag and it’s thawed by lunchtime—easy protein.

• An apple and a spoonful of peanut butter is simple and a great pick-me-up!

• I use the My Fitness Pal app on my phone to track everything I eat. My concern is calories. Tracking calories has

prompted me to eat healthier foods since they tend to be lower in calories. Better quality food equals more consistent energy.

• Stay hydrated throughout the day. It is hard to do this when you have limited restroom opportunities, but your body will pay the price in the long run if you do not hydrate.

Listening to the Voice of Experience Survey responses show that to lessen the effects of burnout, it is essential to establish personal and professional habits that positively influence your work-life balance. While not revelatory information, it’s worth repeating given that recent studies tell us that 40–50% of teachers leave the profession in the first five years.

While we would like to believe that doesn’t apply to Texas music teachers, our survey results are that 35% of music teachers who are within their first five years are considering a career change because of burnout.

With that in mind, we asked teachers to offer general advice on how to maintain better balance. With over 1,500 responses, we hope one or more of the following might resonate with you, whether you’re a first-year or fifteenth-year teacher.

Member Advice on Achieving Balance • Ask for help when you need it. (It’s not a question of if— everyone needs help.)

• Be patient with your students. Be patient with yourself.

• I’ve been doing this for 37 years and I have learned that my students benefit most when I slow down and enjoy each moment with them. Nothing—no contest, no performance—is more important than the people who are involved.

• Keep practicing your instrument/voice and form a chamber music group for fellowship.

• Be consistent and pursue constant professional growth.

Attend workshops throughout the year.

Everyone can use a hand The TMEA Mentoring Network links successful music education professionals with new Texas music educators and offers a proactive program of one-on-one mentoring to each new music teacher.

If you need a mentor, sign up.

If you can serve as a mentor, sign up.

www.tmea.org/mentor Southwestern Musician | May 2016 29

• Don’t sweat the small stuff—after you figure out what the small stuff is. It may take several years, but you will get the hang of it.

• Find a support person to talk with, to be a sounding board, counselor, and confidant. Don’t allow yourself to become isolated.

• Don’t try to be a superhero your first year. It’s okay to suspend a project for the weekend and get it done first thing Monday morning. Perform for the sake of performing, not ratings.

• Don’t take extra church jobs or community children’s choir jobs until you have at least a year under your belt.

• Don’t try to have the best band, try to have the best students.

• Make a list of the things that must be done today, this week, and this month. That way you know what really needs to get done and you can stop worrying about not getting it all finished!

• Q-TIP: Quit Taking It Personally. Don’t stress out over things at work. Kids and coworkers will respond to something negatively every day of your career.

It gets better, but it never stops. If you are going to be great, you will have to learn the discipline to prepare and the discipline to walk away.

• A tired, burned-out teacher is a teacher who will, sooner or later, leave the profession, or worse, stay in the profession in that state. I almost became that teacher. Instead I made the choice to take a break, re-examine my priorities, and begin taking care of myself. I still work hard, but I am a better teacher, friend, husband, and father because I don’t let my work week become completely unmanageable.

• In your first year, commit to leaving work at school three days a week and on every other weekend. It will force you to plan ahead and not work constantly. Make to-do lists and good, easy sub plans for emergencies.

• Family, friends, and outside activities keep music teachers balanced, and their importance cannot be underestimated.

I am watching friends retire from the profession and go through depression that seems fueled by the fact that their identity was anchored in their ensembles and their work.

• This is a career. Every year is different. My father, who was my band director, told me that I would have one bad year for every three good years. That pattern has held pretty true.

• Let the students help you. In addition to teaching music, we are teaching the students to be independent members of society. Not only will it give them ownership of the program but they will also learn organization skills!

• Be happy in the small things. Don’t covet other programs, because not all programs are the same.

• Don’t let the people who have no idea how to bring a performance to fruition get you down.

30 Southwestern Musician | May 2016

Remember your first love and close your door and teach like no one is watching—don’t get overwhelmed with the things you can’t control.

• Make a Smiles Folder. Put positive responses from parents, notes from students, notices of awards, funny teaching tales, and general compliments in the folder. On days when you feel you’ve been steamrollered, get out your Smiles Folder and read through it.

• Most of the stress comes from ourselves. Look at what you do as a director and ask yourself if anyone else is requiring you to do it.

• It’s important to remain focused on the fact that we are still learning every day of our life, until we cease to exist.

• Remember you are not your contest ratings. Trophies gather dust and are forgotten, but relationships last.

• Stay away from gossipers and grumblers, and avoid becoming one.

• Talk to successful teachers. Don’t just complain to others in your same boat. There is a solution for everything. Instead of just disciplining harder, keep asking different people.

• Spend as much energy on your family as you do on your school kids. If you think you can’t do that, ask yourself what situation you are creating that doesn’t allow for that separation. Did you choose music that is too hard? Could you be more organized? Could you improve your time management?

• Take one element of your teaching and focus on making that better. Once you have accomplished that goal, find another element of your teaching that may cause you stress or anxiety and work on that.

• Work during your conference times. It is easy to take a break, but if you use that time for work, it will help you manage afterschool demands.

• Your students are not always an extension of you or a reflection of your ability. Know what you have taught and modeled and don’t take it personally when they choose otherwise.

Relish the process—not just the product.

There’s Still More to Learn Over 86% of survey takers said they want to learn more about teachers who made significant changes in their lives and now have a better work-life balance. Given that, we plan to bring you more stories on this topic in future magazine issues.

To review even more details and comments offered by our teachers from this survey, go to www.tmea.org/balanceresults.

Our thanks go to the music teachers who took time to offer us their valuable information. You are the ones with the answers, and we hope that your replies will help many others as they navigate their future in this profession.

We hope you have a successful end to your school year and a restorative summer!

Southwestern Musician | May 2016 31

15 MONTHS FOR 12 OFFER S T U DE N T A S S E S S M E N T A N D AC C OU N TA B I L I T Y T O OL S P E R F E C T F OR T E X A S E N S E M B L E DI R E C T OR S MusicFirst understands the challenges of today’s band, chorus, and orchestra directors. That’s why we’ve introduced a suite of flexible, affordable and intuitive tools that you can use with a wide variety of age groups and ensemble configurations.

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RENEW MY MEMBERSHIP Why Wait? Do It Today!

You can now renew for 2016–2017 at www.tmea.org/renew

by Susan Daugherty e want to help you have a positive and stress-free experience renewing your TMEA membership and taking advantage of all member offerings—not just the audition process or convention registration. Read on for ways to have that perfect TMEA year!

W

form at www.tmea.org/renew and type your information before you print to help ensure we enter accurate data in your record.

To access the online TMEA audition entry system, your membership must be current or PO Pending by October 1 (you can verify this on your online membership card). Also, outstanding purchase orders should be paid by the date of the competition.

Liability Insurance: TMEA offers members access to lowcost liability insurance. Each year, the policy is in effect until August 20 of the following year. You cannot renew your insurance without also renewing your membership, so remember that before your coverage lapses. If you’ve never purchased the insurance before, now is a good time to consider it. For more information, go to www.tmea.org/liability.

Southwestern Musician: Active and Retired memberships include a one-year subscription to SOUTHWESTERN MUSICIAN, published nine times per year. Featuring articles on music education pedagogy, advocacy, technology, education law and timely reminders of TMEA opportunities, this member magazine is also available in an interactive format online. Renew early to avoid any interruption of your subscription. For more information, go to www.tmea.org/magazine.

Tips for Renewing Plan ahead! This one tip can save you a lot of frustration. The TMEA membership year runs July 1–June 30 each year. All 2015–2016 memberships expire June 30, so renew early. Even if you teach elementary music or are college faculty, renew early to receive a full year’s worth of membership benefits.

Your Member Type: Make sure you renew with the proper member type to avoid complications down the road. If you have recently graduated, renew as Active. If you were retired, but are back in the classroom, renew as Active, especially if you need CPE credit. (College student members and retired members do not earn CPE.) Retiring at the end of May? Congratulations!

Celebrate this transition with $20/year membership dues when you change your member type to Retired. For more information on member types, go to • Your TMEA membership www.tmea.org/membership/categories. expires June 30. If you Paying Personally: Whether paying purchased it, your liability membership, convention registration, or both, if you are paying with personal funds, coverage expires August 20. the fastest way to do so is to renew online • Renew now instead of during using your credit card. For college faculty, a the back-to-school chaos.

P-Card will also work.

• Educate your business office School Payments: If your school will pay your dues, submit your paperwork now about our deadlines and to avoid interruption of your membership process if they are paying all (and the panic that can ensue when TMEA or part of your dues and/or audition entry deadlines sneak up on you). registration.

If using a purchase order, email that signed, • For questions about authorized PO, with the completed membership membership, please call or form, to susand@tmea.org or fax it to 512email Susan Daugherty at 451-9213. TMEA will invoice your district, and your membership will be current once 888-318-8632, ext. 105, or the invoice is paid. There is no mechanism to susand@tmea.org. pay online with a PO. Open the membership

Preregistering for Convention Attending the 2017 TMEA Clinic/ Convention? We hope so! The deadline to register using a school check or PO at the discounted rate continues to be a postmark of December 31. Since most business offices are closed after mid-December, it is best to get this paperwork turned into your office by December 1.

All convention purchase orders must be paid (check sent in the mail) by January 19, 2017.

If preregistering for the convention using a credit card or P-Card, you can register online at the discounted rate through January 19. As of January 20, you can still register online but will pay a higher fee.

Southwestern Musician | May 2016 33

Live Your Dream...

Del Mar College Department of Music 2016 Summer Music Camps Summer Orchestra Program June 2, 9, 16, 23-24, 2016 Contact Todd Ehle tehle@delmar.edu

Band Camp June 13 - 17, 2016 Contact Dr. Abel Saldivar Ramirez aramirez136@delmar.edu

All-State Choir Preparatory Camp June 27 - 30, 2016 Contact Dennis Richardson drichardson@delmar.edu

DelMar.edu A wide variety of scholarships are available.

Contact Todd Ehle at tehle@delmar.edu for more information.

Department of Music • Del Mar College • 101 Baldwin Blvd. • Corpus Christi, TX 78404 • (361) 698-1211

B Y

P E N N Y

ORCHESTRA NOTES

M E I T Z

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

May—TMEA memberships for 2016–2017 can be renewed online.

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

June 1—Deadline to submit proposals online for the 2017 TMEA convention.

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

June 18–19—First round of Honor Orchestra judging (HS and MS/JH Full, MS/JH String).

June 30—All 2015–2016 TMEA memberships expire.

July 21–24—TODA Convention in San Antonio.

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

September 15—HS String Honor Orchestra online entries due.

February 8–11, 2017—TMEA Clinic/ Convention in San Antonio.

F

ew items are a more ubiquitous part of a Texas school secondary music classroom than the class metronome. And what you’ll often find in rehearsal halls across our state is a McAdams Metronome. From the first model, the McAdams 10-A, to the most recent Model 30, this essential piece of equipment has assisted music teachers all over the country, but especially those of us in Texas, in raising and refining the standards of school ensemble performance. With this product’s Texas roots, I was interested to find out more about its history, and recently, I had the pleasure of spending some time with its creator James McAdams. I hope you enjoy learning more about his story and how his metronome came to be.

James McAdams was born in Louisiana and began to play the trumpet when he was ten. A couple of years later, his family moved to Texas, settling in Pasadena, where he entered seventh grade at Queens Intermediate School. McAdams continued to play trumpet through his high school years at Pasadena HS. As a college student at Rice University, he took a few music classes, including trumpet lessons, and played in the MOB as he pursued a degree in electrical engineering. After graduating from Rice, McAdams went to work at Cameron Iron Works, where he worked building electronic control systems for offshore gas and oil production. As he began to establish himself in his career, trumpet took a back seat to his day job. After several years of working for Cameron, McAdams left the company to work independently as a consultant in the offshore oil and gas business. He has carved out a niche

Thousands of McAdams metronomes are being used in schools and churches all over Texas today.

Southwestern Musician | May 2016 35

specializing in emergency backup systems for deep water drilling control systems.

In the early ’70s, two of McAdams’s friends (orchestra teachers in Baytown) encouraged him to build an electronic metronome. He built the first by hand in his garage in November of 1974. With that, other area music teachers soon began to ask him to build metronomes for them.

In the early years, McAdams handled marketing, manufacturing, and development, but the business slowly grew to the point where one person could no longer

keep up with orders (he continues to consult as an engineer in addition to running this business). To accommodate the growing business, McAdams farmed out parts of the manufacturing process. He found one company to build the case, another to build and assemble the circuit boards, and a third to manufacture the speakers.

The final product was then assembled in his garage.

One of the first challenges with the early Model 10 was finding a suitable speaker to use in the metronome. The

speakers in the early metronomes would blow out after a short time because they weren’t intended to be contained in such a small yet high-volume unit. Speakers available at electronics stores weren’t durable enough—the metronome would tear them up in a matter of months. McAdams tried several different solutions, including reinforcing purchased speakers and buying partially finished speakers that he then adapted and strengthened to his specifications. A Minnesota-based company now manufactures the speakers. They also produce the speaker for the backup beeper used in heavy construction equipment.

Today, other parts used in the Model 30 are manufactured in Ohio and Missouri City, Texas. The McAdams family still does much of the final assembly work in Magnolia, Texas.

McAdams has remained active in music through his participation in community bands. Not long after graduating from Rice with bachelor’s and master’s degrees in electrical engineering, he was recruited by a friend to play in a local community band, the Houston Concert Band. Over the years, McAdams has continued to play in a number of community bands. In 2000, he and a couple of friends formed the Houston Brass Band, in the tradition of the British-style brass bands. The 35-piece band, whose membership includes mostly music educators and accomplished amateur musicians, uses only brass and percussion instruments and performs regularly throughout southeast Texas. McAdams plays E-flat tenor horn with this band. Listening to

Attend Your Spring Region Meeting Times & Locations: p. 2 &RQÀUP \RXU 5HJLRQ DW WPHD RUJ ÀQGP\UHJLRQ 36 Southwestern Musician | May 2016

Great

Beginnings Give your students the best start at learning a stringed instrument with GaďŹ ano violins and violas from Germantown Violin Company.

GaďŹ ano violins and violas have a smooth warm tone and excellent projection. Beautiful instruments with remarkable sound make this the perfect choice to begin their musical journey.

For more information please contact:

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301-977-5637 www.germantownviolincompany.com

McAdams talk about the Houston Brass Band, his passion for it becomes quite clear!

Thousands of McAdams metronomes are being used in schools and churches all over Texas today. McAdams estimates that around 2,500 Model 10-A’s were manufactured, and the Model 20 totals over 8,000. The Model 30 is in its fourth year of production, and McAdams keeps one close at hand in his office, where he uses it when practicing his E-flat horn.

As technology has progressed, the features of the McAdams have evolved.

Whereas the Model 10-A had pitch capabilities for only 2 notes—A and B-flat— the Model 30 has a five-octave chromatic range and includes variable pitch reference +/– 20 cents. Both the Model 20 and Model 30 have string tuning notes in perfect intervals. Today’s Model 30 also has a wireless remote control that can control almost all the functions of the metronome. The time to market from Model 10 to 20 and Model 20 to 30 has been quite long (three to five years). McAdams is already thinking about the next model,

and anticipates it will have a shorter turnaround time. McAdams welcomes feedback and improvement ideas. If you have thoughts you would like to share, email him at jpmcadams@sbcglobal.net.

toire selection, recruiting/retention, conducting techniques, technology integration, assessment, private lesson strategies.

Go to www.tmea.org/clinicproposals to submit.

2017 Convention Proposals One month remains for you to submit proposals for the 2017 TMEA Clinic/ Convention (clinics and music showcases). To support a continued improvement of our convention, it’s imperative that we share our best ideas and strategies with each other. Carefully consider what Orchestra Division members report as their most important topics, and if you have expertise to share in those areas, develop a proposal and submit it online

by June 1.

If you know someone who would be an effective clinician, encourage them to submit. The following are the top 10 topics (in priority order), according to orchestra teachers who answered the recent convention survey: rehearsal techniques, instrument methods, teaching methods, classroom management, reper-

Region Meetings Please plan to attend your region meeting (see page 2 for details). At this time, the Region chairs for the upcoming biennium will be elected. We have a number of Regions without a chair right now because of the realignment. If you have ever thought about stepping up and serving our organization on the Region level, this may be the right time.

TMEA Membership: Why Wait?

Your TMEA membership expires on June 1. You can renew today online at www.tmea.org/renew. While there, you can purchase liability insurance (August 21, 2016–August 20, 2017 policy term) and register for the 2017 Clinic/Convention.

Taking care of this today will help you begin next school year with one fewer item on your to-do list!

RhythmBee salutes

The New Deal High School Band AA Champion

“RhythmBee is a key ingre-

UIL SMC—2015

cess. From beginning band on, RhythmBee teaches a consistent rhythmic vocabulary and ins lls a great sense of rhythmic stability.

When they reach high school, our students have a

2013 UIL State Marching Contest—Class A Finalist Perennial UIL Sweepstakes Award Winner 2009, 2012, 2014 TMEA Honor Band QualiĮĞƌ to State

James Nance, Director New Deal HS Band

allows them to focus on the musical aspects of their performance.”

Southwestern Musician | May 2016 39

4-5 March

6 1 5 1 20 Auditions p i h s r a l o h c S N: O I T I D U A AN ic

us ULE m D / E u H C d du S e e . . u u TO kc okc o . @ s w n w o i w audit

0 8 9 5 .

8 ocum 0 .2 5 0 4 WANDA L. BASS SCHOOL OF MUSIC

leaving a legacy

by Ruth Kurtis Editor’s Note: Ruth Kurtis is a longtime highly successful orchestra director and TMEA member who, along with her spouse, has entered into an endowment gift agreement with TMEA. Below, she tells her story of why they made such a decision.

I

t is with great joy that I share my story about our decision to will a portion of our savings to the TMEA Scholarship Fund. And regardless of your plans for your own financial future, I hope you’ll continue to read on as each of us is on a journey that will ultimately require us to make difficult decisions that can have a lasting impact on others. My story is about a lifetime of loving music and music education, long-range financial planning and investing, and other interests and hobbies. Having retired, I have an even greater concern about the future of my investment dollars.

You may be in the stage of paying off student loans, purchasing a home or car, early-, mid-, or late-marriage, taking care of your family’s growing needs, sending your children to college, or any number of milestones. Time has a way of progressing quickly, exerting different priorities upon us. During this passage of time, music educators strive to impart life lessons and unlock the gift of music-making in our students, and for some just pursuing that dream is enough.

So my questions are these: have you or are you planning for retirement and beyond?

What does that look like? What will you decide to do with your personal wealth? Many families have easy decisions—it goes to their children. But what if you’ve done a good job, and you want your children or grandchildren to make their own way as adults as many of you have? Or what if you don’t have family to whom you would will your estate?

Bill Gates explains that he is giving his children token monetary amounts, expecting them to work and be productive members of society. He has chosen to allocate his money to worthwhile causes that help others, working through nonprofit organizations and improving our world. Do you have a vision or legacy that you want to leave?

I can easily reminisce about how scholarship moneys made the difference in my life as a musician and how sharing and igniting the music in students and teachers still gives me purpose. With that in mind, my husband and I actively sought out organizations that had a vision and a vehicle (trust, foundation, program) for helping others. The challenge was that they had to be financially conservative, incur low administrative costs, and be dedicated to perpetuate the future in the given interest area. We examined local, state, and national organizations, their balance sheets, spending philosophy, and leadership. At times we felt like a square peg in a round hole. We wanted to support national organizations but did not find any that fit our criteria.

And we were concerned to learn about organizations with good initial intentions that ultimately strayed from their declared purpose (e.g., the Wounded Warrior Project that has recently come into question for their administrative expenses and more).

We needed organizations with proven track records with the sizeable amount that we were willing to donate.

Before we moved away from Texas—during the last 15 years of teaching in the Dallas area— we kept questioning what we should do. We considered family members who might need help, and through health issues and sibling deaths, we finally made decisions and began working on legal documents. Yes, a will or trust really makes you address

I want the next generation of music educators to be equipped to spread the joy to and develop the talents of students and teachers alike, through the universal language we call music.

Southwestern Musician | May 2016 41

big questions. What is fair? Should your money go to an institution? Professional organization? Another life passion?

Volunteer group?

After these years of consideration and research, we chose the TMEA Scholarship Fund as one of our recipients. I want the next generation of music educators to be equipped to spread the joy to and develop the talents of students and teachers alike, through the universal language we call music. I am proud of the accomplishments and vision of the TMEA leadership team, and I am confident that this organization will continue to support future generations of music-makers.

Whether you decide to donate to the TMEA scholarship fund annually when you renew your membership or leave a significant investment (you define significant) from your estate, I believe it is a sound investment in the future. It is with peace of mind that we chose the TMEA Scholarship Program and I hope you will consider doing the same.

Retired TMEA member Ruth Kurtis was a Texas music educator and now resides in Arizona.

It Doesnâ&#x20AC;&#x2122;t Have to Be Complicated According to Nolo, the legal guide to law and business, the vast majority of OHJDF\ JLIWV WR QRQSURĂ&#x20AC;WV DUH PDGH QRW WKURXJK IDQF\ DQQXLWLHV DQG RWKHU Ă&#x20AC;QDQcial arrangements requiring the nonprofitâ&#x20AC;&#x2122;s management but instead through wills and simple probate-avoidance GHYLFHV H J OLYLQJ WUXVWV DQG EHQHĂ&#x20AC;FLDU\ designations on IRAs, 401(k)s, and other Ă&#x20AC;QDQFLDO DQG LQYHVWPHQW LQVWUXPHQWV

TMEA does not need to be involved in the arrangements when someone decides to leave a gift in a will or similar GHYLFH 7R QDPH 70($ DPRQJ WKH EHQHĂ&#x20AC;ciaries, the donor simply states TMEAâ&#x20AC;&#x2122;s full legal name and location (for clarity, it helps to include TMEAâ&#x20AC;&#x2122;s tax ID number, but this isnâ&#x20AC;&#x2122;t required) and the nature of the gift (for example, cash, investments, or property). According to Nolo, itâ&#x20AC;&#x2122;s very simple for a donor to name TMEA as the EHQHĂ&#x20AC;FLDU\ RI SURSHUW\ VXFK DV D EDQN account, life insurance policy, or retirement plan. The bank or other company usually provides a form for the donor to use.

Donors can designate how TMEA uses a gift, as has Ms. Kurtis, and that would trigger an endowment gift agreement. In this case, the document VSHFLĂ&#x20AC;HV WKH JLIW ZLOO JR WR WKH 70($ Scholarship Fund, with a preference for future orchestra music educators. The ODQJXDJH KRZHYHU DOVR OHDYHV Ă&#x20AC;QDO authority for allocating these funds to the TMEA Executive Board. While the Executive Board is committed to doing everything possible to respect a donorâ&#x20AC;&#x2122;s ZLVKHV EXLOGLQJ Ă H[LELOLW\ LQWR DQ\ GHVLJQDWLRQ LV EHQHĂ&#x20AC;FLDO JLYHQ ZH FDQ¡W NQRZ how our offerings and programs will evolve in the many decades ahead.

Although the perception might be that most donors are older and currently planning their estates, this isnâ&#x20AC;&#x2122;t DOZD\V WKH FDVH <RXQJHU RU OHVV DIĂ XHQW GRQRUV PLJKW QRW KDYH VLJQLĂ&#x20AC;FDQW funds to donate now, but they can gain satisfaction by making plans to leave property later. If you are interested in further information, contact TMEA Executive Director Robert Floyd.

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42 Southwestern Musician | May 2016

W W W. B O C A L M A J O R I T Y. C O M

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-scholarships.

SCHOLARSHIP AUDITION DATES: Sunday, May 15, 2016

1:30 to 5:00 p.m.

Individual audition dates may be requested if necessary.

SCHOOL OF MUSIC DEPARTMENT HEADS Douglas R. Boyer Director, School of Music and Director of Choral Activities dboyer@tlu.edu 830-372-6869 or 800-771-8521

Beth Bronk Director of Bands bbronk@tlu.edu

Shaaron Conoly Director of Vocal Studies sconoly@tlu.edu

Eric Daub Director of Piano Studies edaub@tlu.edu

Eliza Jeffords BACHELOR OF MUSIC IN ALL-LEVEL MUSIC EDUCATION BACHELOR OF MUSIC IN PERFORMANCE BACHELOR OF ARTS IN MUSIC

Director of Strings ejeffords@tlu.edu

www.tlu.edu/music

Bringing a fresh approach to your festival experience and providing the best for the students and teachers of Texas.

2017 San Antonio Events April 14, 15, 21, 22, 28, 29

All Performances at Edgewood Theatre of Performing Arts

musicfesttexas.com

800-323-0974

info@edprog.com

B Y

R O B E R T

H O R T O N

VOCAL NOTES

A new set of Râ&#x20AC;&#x2122;s

A

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

Mayâ&#x20AC;&#x201D;TMEA memberships for 2016â&#x20AC;&#x201C;2017 can be renewed online.

May 1â&#x20AC;&#x201D;Postmark deadline for 2017 TMEA Convention Performing Choir application and CD. June 1â&#x20AC;&#x201D;Deadline to submit proposals online for the 2017 TMEA convention.

June 30â&#x20AC;&#x201D;All 2015â&#x20AC;&#x201C;2016 TMEA memberships expire.

July 21â&#x20AC;&#x201C;24â&#x20AC;&#x201D;TCDA Convention in San Antonio.

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

February 8â&#x20AC;&#x201C;11, 2017â&#x20AC;&#x201D;TMEA Clinic/ Convention in San Antonio.

year ago I began working as a fine arts coordinator for Conroe ISD. Do I miss teaching choir every day? Absolutely. After 25 years of working to be a better teacher and musician, I do miss working with the same group of students every day and the music we made together. I also miss my coworkers and the rich relationships we shared.

However, now I have the opportunity to work with many different groups of students. I have been blessed this past year to have the opportunity to clinic and adjudicate many choirs. I spent 14 years teaching middle school, so I really identify with junior high and middle school teachers and their students. I firmly believe that junior high choral music was the venue that helped me learn how to pace rehearsals, how to motivate and engage students, and how to find countless ways to teach the same thing repeatedly, until the students were successful. However, from age 16, I knew that I wanted to be a high school choral director. So, the past 11 years at The Woodlands HS were a dream come true. I loved teaching students for a longer period of their lives, helping them grow into young adults, and making some really great music with them. I chose to move to fine arts administration in hopes of having a greater impact on the lives of more students.

I wrote my doctoral dissertation about the differences in test scores for a sample of 35,000 students in choir, band, and orchestra, versus students who were not. I compared the TAKS reading and math scores of tenth- and eleventh-grade music students versus non-music students from three school districts. Statistical data and procedures clearly revealed a difference in the two groups. Music students fared better on standardized testing than the non-music students. Cause and effect? I cannot clearly and definitively say, but there was (and still is) a strong correlation between music participation and academic success. Almost five years later, I believe in this correlation more than ever. But is that enough? Is touting the benefit of music to increase

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standardized test scores a good measure of the worth of music programs? Much has been made of the new teacher evaluation system, and Texas’s new accountability system. Some of our colleagues and legislators wanted a return to the three R’s, as they used to be known.

However, I want propose a different set of R’s to you, as measures of success in your program: • Routine • Rigor • Relationships • Reflection These R’s exist to some degree in every great program I have ever observed or been a part of as a teacher.

Routine for music is vital. As teachers, we use a set of activities each day to help students build skills, develop a deeper proficiency, and scaffold learning. Routines give students ways to reliably self-measure their progress. When students are able to self-assess their skills, they begin to take more ownership of their learning. Consistency in routines allows students to have a level of familiar-

ity with teacher and class expectations and to develop skills that can be transferred to other parts of the learning process. Have you ever taught a group of students who could run their own rehearsal, or a large part of it? Typically, these students have developed skills that are based on effective routines. In educational terminology, these are called anchor activities and are considered to be a best practice in many school districts.

Rigor. What a strange word. One definition is “harsh inflexibility in temper or judgement.” Another definition of rigor, which I am proposing as a measure of success is “strict precision.” What an amazing description of what we do in music.

We spend our musical lives attempting to get other humans to do exactly the same thing, in the same way, at the same precise moment in time. Often, this occurs! But I encourage you to step back for a moment and ponder what “strict precision” encompasses in choral music. We teach singers about vowel shapes and color, volume and timbre, tempo and articulation, as well as the sounds of words in many languages.

We work to memorize the sequence in which it all happens. We work to recre-

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46 6RXWKZHVWHUQ 0XVLFLDQ | May 2016

ate that sequence in a variety of acoustical environments. We work with instruments that can be guided only by indirect manipulation and thought processes. As difficult as the proposition of rigor is, in Texas, we achieve high levels of success with individual singers, small groups, and large ensembles. We also adjudicate each other with exacting standards, in a public forum, with readily available scoring. I think those criteria and the ways in which our students demonstrate their mastery of those criteria fits with the strict precision definition of rigor.

The questions about measuring rigor are several: Have you sought ways to increase rigor in your choir program?

Have you raised your standards for yourself and your singers? Every year is different in some way, and each group of students has unique skills and challenges.

But do you change your expectations based on your students? Do you establish benchmarks along the journey to ensure they are heading toward the goal? I firmly believe that the most important person in education is the one standing between the students and the classroom door. I also firmly believe that we, as teachers,

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are often the limitation of our students.

Personally, every time I set really high expectations, students usually met them, and often exceeded them.

The third R is relationships. We are in a people business. Our coworkers, the parents of the students, and the students are just a few with whom we interact.

Building relationships is a key to success, and a very valid measure of success. The old cliché “people won’t care how much you know until they know how much you care” has much truth. Over the past 25 years, I have occasionally had to remind parents and students that we are on the same side and that we want the same goal: the best possible experience for the student. Have you ever done an interest inventory of your students? Do you know what their favorite activities are or about the members of their families? Have you driven through their neighborhood to get a sense of their life outside the choir room? Do you plan social activities for your students to spend time with them when you are not rehearsing? Some of the greatest joys I have now as an adult are the friendships that have developed over the years with my former students, and,

48 6RXWKZHVWHUQ 0XVLFLDQ | May 2016

sometimes, with their parents. I can tell you with great assurance that people who are greatly connected make great music together.

The final R is reflection. I hope you take time to reflect on your growth as a teacher. I hope that you take time to reflect on ways you can grow as an educator and better serve your students. I encourage you to seek a mentor who will be honest with you and cares about your life and career. A mentor can have a profound effect on your reflective practice and provide guidance for you on your journey.

Although the language in this quote

by John Wesley is a bit antiquated, and its origin is debated, the message is still valid and true: “Do all the good you can. By all the means you can. In all the ways you can. In all the places you can. At all the times you can. To all the people you can.

As long as ever you can.” Hugh Sanders, TMEA and ACDA Past-President said, “You can either use people to make music or music to make people.” I hope that this is always a guiding principle for Texas Choral music, as we embrace routine, rigor, relationships, and reflection.

Submitting a 2017 TMEA Clinic/ Convention Proposal To ensure our convention continues to be an incredible opportunity for professional development, expert educators from across our state need to be ready to share their knowledge. If you know someone who would serve as an effective clinician for our division, encourage them to propose. All proposals must be submitted by June 1 at www.tmea.org/ clinicproposals. More information, is on page 9.

Region Meetings Please plan to attend your region meeting (see page 2 for details). Before attending, confirm your Region assignment at www.tmea.org/findmyregion. At this time, the Region chairs for the upcoming biennium will be elected. We have a number of Regions without a chair right now because of the realignment. If you have ever thought about stepping up and serving our organization on the Region level, this may be the right time.

Graduate Studies in Music Education

Summer 2016

JUNE 19 - JUNE 24

MAY 31 - JUNE 2 West Texas Kodály Initiative Graduate Credit Available Dr. Susan Brumfield 8 AM – 8 PM (L)

JUNE 7 - JULY 9 Applications of Technology in Music Education MUSI 5342.D Dr. Keith Dye Distance Only (asynchronous) (O)

JUNE 6 - JUNE 17 Strings for the Non-String Player MUED 5344.001 Prof. Blair Williams 8 AM – Noon (L) Harmony & Voice Leading with AP Primer MUTH 5300.001 Dr. Peter Fischer 8 AM – Noon (L) Qualitative Research Methods MUED 5344.002 Dr. Carolyn Cruse 8 AM – Noon (L/V) Learning & Music MUED 5332.001 Dr. Janice Killian 1 PM – 5 PM (L/V) Globalization & Music Education: Incorporating World Music MUED 5344.003 Dr. Jacqueline Henninger 1 PM – 5 PM (L) Band Conducting Methods I: Strategies & Techniques MUAP 5310.001 Dr. Eric Allen 1 PM – 5 PM (L)

JULY 12 - AUG 12

Choral Conducting & Comprehensive Musicianship MUAP 5308.001 Prof. Rick Bjella 8 AM – 8 PM (L)

Advanced Applications of Technology in Music Education MUSI 5345.D Dr. Keith Dye Distance Only (asynchronous) (O)

JUNE 20 - JULY 1

Graduate Music History Review MUHL 5300.D Dr. Stacey Jocoy Distance Only (asynchronous) (O)

Foundations in Music Education MUED 5340.001 Dr. Keith Dye 8 AM – Noon (L/V) Tests & Measurements MUED 5333.001 Dr. Janice Killian 8 AM – Noon (L/V) Topics in Band Music Education: Current Research, Principles & Practices MUED 5326.001 Dr. Jacqueline Henninger 8 AM – Noon (L) Topics in Orchestral Music Education: School Orchestra Literature MUED 5327.001 Prof. Blair Williams 1 PM – 5 PM (L) Topics in Band Music Education II: Repertoire & Trends MUED 5326.002 Dr. Eric Allen 1 PM – 5 PM (L/V)

L = Live V = Videoconference O = Online Only

Symphonic Literature MUHL 5311.D Dr. Thomas Cimarusti Distance Only (asynchronous) (O)

JULY 11- JULY 22 Teaching College: Strategies and Best Practices MUSI 7000.001 Dr. Keith Dye 8 AM – Noon (L/V) Music for Students with Exceptionalities (online July 6; residency July 11-15) MUED 5306.001 Dr. Janice Killian 8 AM – Noon (L/V) Styles in Wind Literature of the 19th & 20th Centuries MUTH 5320.001 Dr. Peter Martens 1 PM – 5 PM (L/V) Choral Pedagogy: Voice-Building in the Choral Rehearsal (July 11-19) MUED 5325.001 Dr. Carolyn Cruse 1 PM – 5 PM (L)

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 Dr. Janice Killian, Chair, Music Education Emily Gifford, School of Music Graduate Admissions

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Health & Wellness in the Music TEKS

by Kris Chesky & Sajid Surve he revised Fine Arts Texas Essential Knowledge and Skills (TEKS), adopted in April 2013 and effective this school year, facilitate exploration, understanding, analysis, and application of knowledge regarding health and wellness concepts related to musical practice, such as body mechanics, hearing protection, vocal health, hydration, and appropriate hygienic practice. Representing a landmark in the evolution of music education, these TEKS learning objectives expand and redefine what it means to be a music educator as well as an educated musician.

Music educators can now expect that the next generation of musicians will possess knowledge and tools needed to make informed decisions about their occupational health and to make optimal use of health resources. Musicians educated about occupational health are more likely to care for their bodies, vocal cords, and abilities to hear.

T

Roles Music educators are obligated to meet these new TEKS objectives if you teach middle or high school music, choir, orchestra, or band in Texas. Those involved in teacher training may need to modify undergraduate courses to help prepare undergraduate students to meet these legal obligations (as shown in a recent research project outlining how an undergraduate brass methods course can help facilitate this need1).

Educators and clinicians with expertise in occupational health may seek out opportunities to share program successes and pragmatic insights with colleagues across Texas. For scholars interested in applied research, the lack of studies in this area represents new and challenging vectors for research.

Texas Is Innovative and Forward-Thinking The new TEKS objectives represent groundbreaking, decisive, and pivotal steps for the discipline of music education. While groups like the National Association for Music Education have

offered position statements that encourage this type of education2, the new TEKS are the first known state mandate designed to ensure that our educational activities prepare public school student musicians for music-related occupational health concerns.

This is a historic step for music education with national and international implications. In fact, acknowledgment of and accountability to the occupational health concerns associated with learning and performing music impacts the entire field of music education, including the philosophical, sociological, policy, and pragmatic foundations for the discipline.

How Did This Happen?

The new TEKS requirements are an anticipated extension of national trends seen in college and university-based schools of music accredited by the National Association of Schools of Music (NASM). In 2004, with funding from the National Endowment for the Arts, the Grammy Foundation, NAMM, and others, a national conference hosted by UNT encouraged this transition.

The “Health Promotion in Schools of Music” project was a direct collaboration with over 20 medical and music-related organizations with the goal of facilitating and encouraging debate among leading music educators and experts in vocal, musculoskeletal, auditory, and mental health3. Educators, researchers, and clinicians collaborated with the goal of developing recommendations as a strategy for encouraging NASM to ratify new accreditation standards that ensure music professionals gained a working knowledge of occupational injuries associated with learning and performing music.

Subsequently, a paper titled “Health Promotion in Schools of Music: Initial Recommendations for Schools of Music”4 was published in the Medical Problems of Performing Artists journal in 2006 and was sent to all NASM accredited schools of music and the NASM leadership. The recommendation pointed to the need for schools of music to acknowledge health concerns associated with learning and performing music and to become “health 6RXWKZHVWHUQ 0XVLFLDQ | May 2016 51

promotingâ&#x20AC;? as defined by the World Health Organization.

In addition to outlining specific recommendations for action, the HPSM paper offered four declarations, including the following directed toward music educators: â&#x20AC;&#x153;Because many of the physical, psychological, and sociological determinants for performance injuries are well established before young musicians attend college, schools of music must prepare health-conscious music educators and produce injury-free musicians. Music education faculty must acknowledge the possible negative consequences of learning and performing music and prepare future teachers accordinglyâ&#x20AC;? (HPSM Declaration, p. 142).

Soon after, UNT developed new undergraduate and graduate â&#x20AC;&#x153;Occupational Healthâ&#x20AC;? courses for students enrolled in the College of Music, expanded clinical offerings for musculoskeletal, vocal, auditory, and mental health concerns of students, and initiated several large-scale research projects. One specific project

included protocols designed to understand noise exposure levels generated during ensemble-based instructional activities. Following detailed measurement of over 600 rehearsals at UNT in 2007, this research found that over 40% of these activities exceeded daily threshold limits established by the National Institutes of Occupational Safety and Health (NIOSH).

Dr. Richard Gipson, Director of TCUâ&#x20AC;&#x2122;s School of Music, created opportunities to present this research to the NASM leadership during a 2008 conference in Seattle.

Moreover, the NIOSH, a federal agency of the Centers for Disease Control, became intimately aware and interested in this research and related activities and bestowed the national 2010 â&#x20AC;&#x153;Safe in Sound Awardâ&#x20AC;? to the UNT College of Music5.

Following this national visibility, NIOSH, together with the American Academy of Audiology, the National Hearing Conservation Association, and the Performing Arts Medicine Association

Submit a 2017 TMEA Convention Proposal Why Submit?

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Attendees Have Spoken: $WWHQGHHV ZDQW WR OHDUQ DERXW WKH IROORZLQJ teaching methods, rehearsal techniques, classroom management, repertoire selection, instrument methods, technology integration, recruiting/retention, conducting techniques, urban/rural challenges and solutions, special-needs instruction, funding/ grant writing, assessment, and more.

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collectively encouraged NASM to respond to these concerns. NASM ratified the new health and safety accreditation standards in 2012 that continue to impact over 600 schools of music across the USA. What Now? View the TEKS challenge as a new beginning and the culmination of years of hard work, commitment, and sustained research. UNTâ&#x20AC;&#x2122;s involvement began when it founded the Texas Center for Music & Medicine at UNT in 1999 (recently renamed the Texas Center for Performing Arts Health6) because we knew then that occupational health problems existed among all musician groups, that musician groups were grossly underserved, and that music-related occupational health problems are mostly preventable.

While some music educators might feel unprepared for the new TEKS requirements, please know that outstanding resources exist right here in Texas.

Getting to this point did not happen overnight or without hard work, persistence, and focused researchâ&#x20AC;&#x201D;and we still have lot more work to do.

Colleagues from the Texas Center for Performing Arts Health (TCPAH) expect to take an active role in this process. To jumpstart the development of continuing education opportunities for music educators across the state, the TCPAH will be hosting a conference in Fort Worth entitled â&#x20AC;&#x153;Health in Music Education.â&#x20AC;?

For more information, go to www.unthsc .edu/healthinmusiceducation.

Stay tuned and please consider joining with us as we seek to expand our collective knowledge and pedagogic skills on behalf of all students interested in learning and performing music.

References 1. Laursen, Chesky (2014). Addressing the NASM Health and Safety Standard through Curricular Changes in a Brass Methods Course: An Outcome Study.

Medical Problems of Performing Artists: 29:136-143. www.sciandmed.com/mppa/ journalviewer.aspx?issue=1205&article= 2056&action=3&search=true#abstract 2. Health in Music EducationNational Association for Music Education (NAfME). (n.d.). Retrieved March 22, 2016, from www.nafme.org/ about/position-statements/health-in-

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music-education-position-statement/ health-in-music-education/ 3. Health Promotion in Schools of Music. Retrieved March 22, 2016, from www.unt.edu/hpsm/ 4. Chesky, Dawson, Manchester (2006). Health Promotion in Schools of Music: Initial Recommendations for Schools of Music. Medical Problems of Performing Artists. 21:142-144. www .sciandmed.com/mppa/journalviewer .aspx?issue=1168&article=1673&action= 3#abstract 5. Chesky (2011). Schools of Music and Conservatories and Hearing Loss Prevention. International Journal of Audiology 50:S1 www.tandfonline.com/ doi/full/10.3109/14992027.2010.540583 6. Texas Center for Performing Arts Health. (n.d.). Retrieved March 22, 2016, from https://tcpah.unt.edu/home .ULV &KHVN\ LV D SURIHVVRU LQ WKH &ROOHJH RI 0XVLF DW WKH 8QLYHUVLW\ RI 1RUWK 7H[DV DQG WKH FRIRXQGHU RI WKH 7H[DV &HQWHU IRU 3HUIRUPLQJ $UWV +HDOWK 6DMLG 6XUYH LV $VVRFLDWH 3URIHVVRU DW WKH 8QLYHUVLW\ RI 1RUWK 7H[DV +HDOWK 6FLHQFH &HQWHU DQG FRGLUHFWRU RI 7&3$+

Summary of Additional Health-Related Objectives of the Fine Arts TEKS Adopted in 2013, implemented with the 2015-2016 school year: Middle School Music 1 §117.208.c.1.e: explore health and wellness concepts related to musical practice such as body mechanics, hearing protection, vocal health, hydration, and appropriate hygienic practice.

Middle School Music 2 §117.209.c.1.e: describe health and wellness concepts related to musical practice such as body mechanics, hearing protection, vocal health, hydration, and appropriate hygienic practice.

Middle School Music 3 §117.210.c.1.e: demonstrate health and wellness concepts related to musical practice such as body mechanics, hearing protection, vocal health, hydration, and appropriate hygienic practice.

High School Music Levels I, II, III §117.310.c.1.f, §117.311.c.1.h, §117.312.c.1.i: apply health and wellness concepts related to musical practice such as body mechanics, hearing protection, vocal health, hydration, and appropriate hygienic practice.

High School Music Level IV §117.313.c.1.i: analyze and apply health and wellness concepts related to music practice such as body mechanics, repetitive motion injury prevention, first-aid training, hearing protection, vocal health, hydration, and appropriate hygienic practices.

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UNT College of Music Summer Workshops 2016 ClarEssentials Middle School Clarinet Workshops June 6-8, Denton ISD June 13-15, Frisco ISD Daryl Coad, Deborah Fabian, Kimberly Cole Luevano, John Scott, Kristen Thompson, Connor O’Meara Flute! Fundamentals for Teachers June 6-10 Mary Karen Clardy

Summer String Institute for Violin, Viola, Cello, Double Bass, and Harp June 17-July 1 Julia Bushkova, Philip Lewis, Felix Olschofka, Anyango Yarbo-Davenport, Alex Kerr*, Gary Levinson*, Susan Dubois, Daphne Gerling, Liesl-Ann de Villiers, Ann Marie Hudson Brink*, Eugene Osadchy, Nikola Ruzevic, Elizabeth Morrow, Jesús Castro-Balbi, Gudrun Raschen, Jaymee Haefner, Baumer String Quartet, Clay Couturiaux *Masterclass only

29th Annual Bradetich Double Bass Masterclasses June 6-10 Jeff Bradetich, Jack Unzicker

14th Annual Pirastro Strings Elite Soloists Program June 19-24 Jeff Bradetich

16th Annual Lynn Seaton Jazz Double Bass Workshop June 6-10 Lynn Seaton

Vocal Jazz Summer Workshop June 19-24 Jennifer Barnes, Rosana Eckert, Greg Jasperse, Justin Binek

16th Annual North Texas Beginner and Intermediate Bass Camp June 8-10 Gudrun Raschen, Jessica Valls, Carlos Gaviria

ClarEssentials High School Clarinet Workshop June 22-25 Daryl Coad, Deborah Fabian, Kimberly Cole Luevano, John Scott, Meaghan Kawaller

Orchestra Summer Day Camp June 13-17 Elizabeth Chappell (Grades 2-10) Flute! Practicum for Performers June 13-17 Mary Karen Clardy UNT Marching Percussion Camp June 13-16 Paul Rennick Keyboard Percussion Symposium (Formally the UNT Marimba Workshop) June 13-17 Christopher Deane, Brian Zator, She-e Wu, Sandi Rennick, Ed Smith, Gordon Stout Vocal Pedagogy Workshop June 17-18 Stephen F. Austin Vocal Jazz Educator Seminar June 17-18 Jennifer Barnes, Curtis Gaesser Flute! Masterclass in Repertoire and Performance June 17-19 Mary Karen Clardy

Drum Major and Leadership Camp June 23-26 Nicholas Enrico Williams, Jeremy Spicer, Manuel Maldonado Flute! High School Camp June 24-26 Mary Karen Clardy Texas High School All-State Choir Camp July 6-9 Alan McClung (Grades 9-12) Jazz Combo Workshop July 11-15 Mike Steinel Middle School/Junior High Honor Choir Camp July 13-16 Alan McClung (Grades 7-9) Mariachi Summer Camp July 19-23 Donna Emmanuel Keyboard Wellness Seminar July 22-30 Sheila Paige Summer Harp Masterclass August 6 Jaymee Haefner, Sajid Surve

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

www.music.unt.edu

ELEMENTARY NOTES

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Are you waiting for Superman?

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

Mayâ&#x20AC;&#x201D;TMEA memberships for 2016â&#x20AC;&#x201C;2017 can be renewed online.

June 1â&#x20AC;&#x201D;Deadline to submit clinic proposals online for the 2017 TMEA convention.

June 9â&#x20AC;&#x201C;10â&#x20AC;&#x201D;CEDFA Summit XVII, Austin Airport Hilton.

June 15â&#x20AC;&#x201D;Postmark deadline for 2017 TMEA Convention Performing Group application and DVD. June 30â&#x20AC;&#x201D;All 2015â&#x20AC;&#x201C;2016 TMEA memberships expire.

July 21â&#x20AC;&#x201C;24â&#x20AC;&#x201D;TCDA Convention in San Antonio.

February 8â&#x20AC;&#x201C;11, 2017â&#x20AC;&#x201D;TMEA Clinic/ Convention in San Antonio.

recently watched the documentary Waiting for Superman.

This film addresses the growing state of poverty and education in America. As children, we believe anything is possibleâ&#x20AC;&#x201D;Santa Claus, the Easter Bunny, Superman. Optimism fuels a childâ&#x20AC;&#x2122;s mind when things are not as they should be. They believe one day Superman will come along and fix everything. The moment a child realizes that Santa Claus isnâ&#x20AC;&#x2122;t real changes their lives. They grow up a little and soon realize that their parents are the ones creating the magic in their lives. Eventually, the child grows up and becomes the bearer of magic to other children.

As adults, we know that Superman is fictional and that although there is hope for better circumstances in our classrooms, the solutions we desire and even need are far off, if theyâ&#x20AC;&#x2122;re coming at all. Like children, when we realize that Superman is not going to be able to fix our budgets, our schedules, our pull-out woes, we feel let down. Our morale suffers. Unlike children, our administrators often have their hands tied and believe they canâ&#x20AC;&#x2122;t make the changes we need.

To make the necessary changes in our programs, todayâ&#x20AC;&#x2122;s elementary music teacher needs to become their own superhero. With no booster program and often little or no budget, we need to create our own fundraisers. Find something unique that no one else in your school or district is doing. One product

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that I have had success with in past music programs has been reusable water bottles with pull-top spouts. Students are allowed to have these on their desks in class and there is little or no danger of spillage. We have also fundraised each semester with

the sale of Coca-Cola products. I simply send order forms home with the students, they mark what they sell and collect the money. Coca-Cola sends a truck to our school and delivers the products to my classroom or stage. Most of the purchases

FEIERABEND ASSOCIATION FOR MUSIC EDUCATION Announcing the 2016 Biennial FAME Conference Friday, July 15 - Sunday, July 17, 2016 Gordon College — Wenham, MA Join us on the beautiful campus of Gordon College for a weekend of Tuneful, Beatful and Artful activities.

The 2nd FAME Biennial Conference will kick off with a Strawberry Social on Friday evening featuring country dancing called by Dr. John Feierabend with live music.

Alice Parker will give the Keynote Address and lead the Saturday night Community Sing.

Plenum sessions with Dr. John Feierabend.

16 break out sessions on a variety of topics led by experienced music educators who have found success using Dr. Feierabend’s First Steps in Music and Conversational Solfege curriculum.

Network with like-minded music educators and share ideas.

Visit www.feierabendmusic.org/2016Conference to register and for up-to-date information about the conference schedule and presenters, special events, lodging information and more.

60 6RXWKZHVWHUQ 0XVLFLDQ | May 2016

are for cases of 20-ounce bottles. We make about $1,500–$2,000 per year from this effort. This provides plenty of money to purchase new instruments, programs, and other materials for my classroom. Other ideas teachers have shared include a walka-thon, T-shirts, and singing serenades by the choir.

When it comes to programs, it isn’t necessary to purchase commercially-prepared products. You can save money by writing your own. Especially with kindergarten, I think the programs are better when there is a theme. Past themes I have used include Groundhog Day, Winter, Mother’s Day, Valentine’s Day, Cowboys, and Spring.

You can find songs in your curriculum and in other resources you already have. If you have an especially creative class, have them change words to a song to match your theme.

Another problem elementary music educators still face is pull-outs. Even though HB 5 stipulates that a student must attend 90% of a class to receive credit or grade, some districts simply send home a note and tell parents their child may be pulled from other classes to prepare for the test. To these districts, this is

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Bonny Method of Guided Imagery and Music 5 Day Workshop, May 26 â&#x20AC;&#x201C; May 30, 2016 FEATURING Dr. Nicki Cohen, Primary Trainer, MTâ&#x20AC;&#x201C;BC and Santiago VilĂĄ, Assistant Trainer

Letâ&#x20AC;&#x2122;s Get Moving! Alexander Technique and Body Mapping Activities for Musicians 2 Day Workshop, June 9 â&#x20AC;&#x201C; 10, 2016 FEATURING MaryJean Allen, CertiďŹ ed Instructor

Flute Pedagogy Workshop 2 Day Workshop, June 20 â&#x20AC;&#x201C; 21, 2016 FEATURING Dr. Pam Youngblood and guest artist Dr. John Bailey, University of Nebraska-Lincoln

Orchestrating Affective Relationships in Musical Play 2 Day Workshop, June 23 â&#x20AC;&#x201C; 24, 2016 FEATURING John A. Carpente, Ph.D., MT-B C, LCAT DIRFloortime Practitioner and Trainer Founder & Executive Director of the Rebecca Center for Music Therapy, Assoc. Professor of Music Therapy, Molloy College Workshop details at www.twu.edu/music/summer-workshops.asp

TEXAS WOMANâ&#x20AC;&#x2122;S UNIVERSITY A Coeducational, Public Institution Department of Music & Drama, P.O. Box 425768, Denton, TX 76204 940-898-2500 PXVLF#WZX HGX Â&#x2021; ZZZ WZX HGX PXVLF

sufficient to get around the wording of the law. The student then suffers, as does the entire class when the student comes in late and the teacher has to stop to reexplain the lesson. One way to become your own superhero in this situation is to utilize flipped-classroom tricks. Record your lessons for students to watch at home or at a computer when they return to your class. You donâ&#x20AC;&#x2122;t need to record your entire lesson, just the basics so the student can view it and then join the class. In the first couple of years, this will be time consuming, but eventually you will have a library of videos you have created that you use on an annual basis. During one recent kindergarten class, we painted glow-inthe-dark fish to use the following week on our stage (which has black lights). I painted a few extras for the children who were absent or in their speech class. When the class went onto the stage and moved their fish to the music of The Aquarium from Saint-Saensâ&#x20AC;&#x2122; Carnival of the Animals, there were plenty of fish for everyone. A superhero must think ahead.

Discipline is another hot topic needing superhero strength to conquer. If you have multiple classes at the same time and children coming and going for pull-outs, it can be challenging to keep the students focused. Sometimes the same thing wonâ&#x20AC;&#x2122;t work for every grade level or even every class within a grade level. You need to be

prepared to switch to something new even if something has worked for you in the past. Some of my favorite discipline strategies include: 1. Come to class prepared. Have a wellprepared lesson with additional activities in case the students finish early.

2. Whole-Brain Teaching. Techniques such as â&#x20AC;&#x153;Class-Yesâ&#x20AC;? and â&#x20AC;&#x153;TeachOkayâ&#x20AC;? are a staple in my classroom and have worked well for me for about five years now.

3. â&#x20AC;&#x153;Need to Try Harderâ&#x20AC;? tickets. Every school has a few students who occasionally need a reminder that their time in class is important and that they are here to learn. On Fridays at my school, our grade levels combine and the P.E. coach leads a 15-minute health lesson, then I do a 15-minute movement activity. The last 20 minutes of our time is called Free Friday.

If a student receives a ticket in one of our classes (including technology), they walk for the first ten minutes of their free time.

No matter what problems you face in your classroom, take time to stop and find creative solutions. While answers may eventually come from legislatures and administrators, the students are with you now and deserve the best music education you can give them. Put on your cape and

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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!

www.tmea.org/clinicproposals 62 6RXWKZHVWHUQ 0XVLFLDQ | May 2016

be the superhero they deserve!

2017 TMEA Clinic/Convention Proposals Now is the time to write your proposal if you are interested in presenting a session at the 2017 TMEA Clinic/Convention.

Our recent survey results revealed that elementary teachers rate the following as the top 10 topics for clinics (in priority order): teaching methods, classroom management, technology integration, rehearsal techniques, repertoire selection, special needs instruction, urban/rural challenges & solutions, instrument methods, assessment, funding/grant writing.

June 1 is the deadline to submit your entry at www.tmea.org/clinicproposals.

Perform at the 2017 Convention If you are interested in bringing your elementary choir or instrumental ensemble to San Antonio as a 2017 invited choir, the deadline to submit your entry is June 15. At the elementary level, we require a DVD because some groups have very little experience with public performance and details such as chewing gum, recorder hand placement, and general discipline could be an issue not identifiable in a CD. By the time the students are in secondary schools, they are attending UIL contests and similar competitions and the standards are more uniform.

Ultimately, we all want the best groups to represent Texas at the convention. Print the application found at www.tmea.org/ elementaryapplication and send it with your DVD to: Juli Salzman, TMEA Elementary VP, 625 Milton Street, Angleton, TX 77515.

Region Meetings Please plan to attend your Region meeting (see page 2 for details). At this time, the Region chairs for the upcoming biennium will be elected. We have a number of Regions without a chair right now because of the realignment. If you have ever thought about stepping up and serving our organization on the Region level, this may be the right time. The Region Chairs are responsible for the professional development in their respective Regions. There will be a training session for all Region Chairs on July 21 in San Antonio.

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 84.

THANK YOU, ADVERTISERS! Abilene Christian Univ Alfred Music Allegro Apparel & Plaques LLC. Austin College Balu Musik Baylor Univ Belmont Univ Blast of Brass Blinn College Bocal Majority Bassoon Camp, LLC Boston Conservatory, The Brazos Valley Chorale Breezin’ Thru Theory Brigham Young Univ-Idaho Brook Mays / H&H Music Cal30 iPhone Solutions CASIO America Catholic Univ of America CCIS, Inc. Choristers Guild Clark W. Fobes D’Addario Dallas Baptist Univ Dallas Symphony Association DANSR, Inc. Del Mar College Director’s Choice Eastman School of Music, The Editions Henry Lemoine Edwards Instruments Festival Tours and Travel Fox Products Corporation G Major Music Theory, LLC Germantown Violin Company GIA Publications Hal Leonard Corp.

Hardin-Simmons Univ Hoshino USA, Inc. (TAMA Drums) Houston Arts Partners Houston Youth Symphony Lamar Univ Lone Star Percussion

Loyola Univ New Orleans Louisiana State Univ Maass Trombones Malmark Bellcrafters MarchingApparel.com McGraw-Hill Education Messiah College Midwest Musical Imports Mighty Music Publishing Mika Hasler Young Artist Competition Millersville Univ Mount Vernon Music Music Is Elementary Music Prodigy Musicfest Texas MusicFirst MyMusicFolders MyGoMobile N-Tune Music and Sound Oklahoma City Univ Our Lady of the Lake Univ Pepperdine Univ PepWear Peripole Peter’s Way Tours QuaverMusic.com R&S Marching Arts RBC Music Co. Rhythm Band Instruments, LLC RhythmBee Inc. Rice Clarinet Works Richland College Sabian Ltd. Sam Houston State Univ SlapAppy Studios Small World MUSICFOLDER.com Southern Methodist Univ Southwestern Univ Spirit Specialties Stephen F. Austin State Univ Steve Weiss Music STL Ocarina

Summit Tour & Travel Suzuki Tarleton State Univ Tarrant County College Northeast Texas Christian Univ Tenor Madness Texas A&M Univ/Central Texas 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 Lutheran Univ Texas Music Administrators Conference Texas Orchestra Directors Association Texas State Univ Texas Tech Univ Texas Wesleyan Univ Texas Woman’s Univ timwmusic.com Trinity Univ Univ of Arkansas Univ of Central Oklahoma Univ of Florida Univ of Houston Univ of Mary Hardin-Baylor Univ of Nebraska Univ of North Texas Univ of South Alabama UT/Arlington UT/Austin UT/El Paso UT/San Antonio UT/Tyler Wayland Baptist Univ West Music Company West Texas A&M Univ West Virginia Univ Yamaha

6RXWKZHVWHUQ 0XVLFLDQ | May 2016 63

COLLEGE NOTES

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Share your appreciation

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n my top dresser drawer at home, nestled beneath some extra-warm, fuzzy socks that I rarely get to wear in South Texas, is a handwritten notecard I received almost 15 years ago from my school districtâ&#x20AC;&#x2122;s superintendent following a concert we presented when I was teaching band at Belton HS. Iâ&#x20AC;&#x2122;m not entirely sure why Iâ&#x20AC;&#x2122;ve kept that note all these years, but each time I read it Iâ&#x20AC;&#x2122;m reminded not only of how important our work with students and future teachers is, but also how valuable a sincere note of appreciation can be.

As weâ&#x20AC;&#x2122;re wrapping up the academic school year, reflecting on the joys and challenges of our work, and setting goals for next year, I hope that youâ&#x20AC;&#x2122;ll consider joining me in trying to be more intentionally thankful by writing a few more thank-you notes. Of course, many of our colleagues appreciate a quick email or a pat on the back in the hallway, but there is something special about a brief, sincere, handwritten note. A note of thanks shows that someone who crossed our path did something that moved us enough to take the time to get out the pen and paper and jot down a few brief words. While an email can get lost in the shuffle of our daily lives, and spoken words fade quickly in the ear, a written note can be held, reflected upon, and sometimes even stowed away to be cherished years laterâ&#x20AC;&#x201D;like the one from my superintendent.

See if you can carve out a few minutes each week to write a quick note to a valued colleague, to an underappreciated adjunct professor, or to a conductor, researcher, or educator whose work you admire. Imagine the power of a congratulatory note from you to one of your students and how that might encourage or reinforce their work. The effect can be powerful and lasting, and you never know if that note you wrote might turn up in someoneâ&#x20AC;&#x2122;s sock drawer years from now.

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

Mayâ&#x20AC;&#x201D;TMEA memberships for 2016â&#x20AC;&#x201C;2017 may be renewed online.

June 1â&#x20AC;&#x201D;Deadline to submit proposals for the 2017 TMEA convention.

June 30â&#x20AC;&#x201D;All 2015â&#x20AC;&#x201C;2016 TMEA memberships expire.

October 7â&#x20AC;&#x201D;College Division Fall Conference.

February 8â&#x20AC;&#x201C;11, 2017â&#x20AC;&#x201D;TMEA Clinic/ Convention in San Antonio.

To Our Graduating College Student Members: Congratulations on completing this chapter in your life!

We hope that the experience preparing for an exciting and challenging music career has been IXOĂ&#x20AC;OOLQJ DQG ZH ORRN forward to you sharing your skills and talent in a professional capacity.

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When you renew your TMEA membership, take pride in changing your member type from Student to Active.

When you select Active as your member type, you become a member ZLWK IXOO EHQHĂ&#x20AC;WV joining the many thousands of music educators whose legacies live on in this professional association.

TMEA and who are enrolled in their final semester of a program leading to teacher certification (typically a music education major or concentration). These students must hold a 3.5 or better grade point average and should have participated in non-mandatory music instruction or involvement in the local music education community in a significant way beyond the requirements of the degree.

Recipients receive recognition on the TMEA website, a certificate and letter of recognition from TMEA, and regalia cords that may be worn at commencement. The

Collegiate Music Educator Award The TMEA Executive Board gave approval in its March meeting to fund the Texas Collegiate Music Educator Award recognizing outstanding undergraduate students in music education programs beginning in the 2016â&#x20AC;&#x201C;2017 academic year. This award grew from the work of our members during the 2015 Fall Conference and is modeled on the Texas Music Scholar Award, given to outstanding high school students each spring.

College faculty may nominate undergraduate students who are members of

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6RXWKZHVWHUQ 0XVLFLDQ | May 2016 67

deadline for nominations is October 15 for fall graduates and April 1 for spring or summer graduates. Look for more information on the TMEA website soon.

third-floor gathering area outside the Stars at Night Ballroom (in the newly remodeled portion of the Henry B. Gonzalez Convention Center). This location will position the poster session closer to the other College Division rooms and will still offer passers-by the opportunity to enjoy reviewing the fruits of the research our College Division members produce.

I hope that you’ll continue to submit and encourage your colleagues and graduate students to submit proposals to take part in this impressive forum.

Research Poster Session Updates One of the highlights of each TMEA Clinic/Convention for the College Division is the Research Poster Session.

Some of the changes we’re working on to make the session even better include an online submission and review process and moving the poster session itself to the

MUSIC AT OLLU

OUR LADY OF THE LAKE UNIVERSITY OFFERS: Bachelor of Music Minor in Music

THE PROGRAM EMPHASIZES: Choral conducting Music ministry Mexican-American music Ethnomusicology 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)

Dr. Elizabeth Dyer • 210-528-7082 • edyer@ollusa.edu • 200B Fine Arts Building www.ollusa.edu/MusicDept 68 6RXWKZHVWHUQ 0XVLFLDQ | May 2016

Clinic Proposal Tips I encourage you and your colleagues to submit proposals for the 2017 Clinic/ Convention. Many of my friends say things like “I can’t think of anything” or “Nobody at TMEA would accept my idea” or “I can’t work something up in time.” I encourage you to consider some possible solutions to these claims.

Can’t think of anything? Consider developing a great class session or lecture that you present to your students into an interesting hour-long presentation. Share information on how you prepare future teachers for the changing needs of today’s student population. With a little work, you can craft a session out of that material that could impact hundreds of teachers and students. Have a great research article? Think about transforming that into a practical session with tips that teachers can immediately put into action.

Think nobody at TMEA would consider your esoteric proposal? No, we probably would not accept your proposal on the influence of honey badger breeding on private kazoo instruction in Delaware (apologies if that’s your research focus), but sessions with clear applications to the Band, Orchestra, Vocal, and Elementary Divisions are always of interest. We also consider sessions related to music teacher training at the college and university level. From our recent survey, members who teach college or who are college students identify the following as the top 10 clinic topics of interest (in priority order): teaching methods, rehearsal techniques, instrument methods, classroom management, repertoire selection, technology integration, recruiting/retention, conducting techniques, private lesson strategies, funding/grant writing.

Follow the guidelines carefully, and be sure to include clear implications for teachers and teaching in your session. You can begin your proposal submission process at www.tmea.org/clinicproposals.

Southwestern Musician Articles Likewise, if you have research or class topics that you believe would make great articles for this magazine, please send your ideas to SOUTHWESTERN MUSICIAN Managing Editor Karen Cross at kcross@ tmea.org. Articles focusing on advocacy, exceptional learners, integrating technology, or any of the clinic topics listed above are always encouraged.

Check out the all-new Aulos Recorder at rhythmband.com or email us at schoolsales@rhythmband.com

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