November 2011 | Southwestern Musician

NOVEMBER 2011

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William Stanley, trombone (chair)

John Davis, trumpet (chair)

Martina Miranda, general music (chair)

Terry Sawchuk, trumpet

Bijoux Barbosa, jazz bass

James Austin, winds & percussion

Michael Thornton, horn

Dave Corbus, jazz guitar

Margaret Berg, strings

Michael Dunn, tuba/euphonium

Brad Goode, trumpet

Dana Biggs, winds & percussion

Douglas Walter, percussion

John Gunther, saxophone

Leila Heil, choral music

Allen Hermann, trombone

Matthew Roeder, winds & percussion

David Korevaar, piano (chair)

Paul Romaine, jazz drum set

Carlo Caballero, Chair

Andrew Cooperstock, piano

Jay Keister

Judith Glyde, cello (chair)

Rebecca Maloy

Elizabeth Farr, organ/harpsichord

Lina Bahn, violin

Thomas Riis

Doris Lehnert, piano

Margaret Soper Gutierrez, violin

Brenda Romero

Margaret McDonald,

Erika Eckert, viola

Jeremy Smith

Alejandro Cremaschi, piano pedagogy

collaborative piano Alexandra Nguyen, collaborative piano

Paul Erhard, bass Janet Harriman, harp

Nicolò Spera, classical guitar

Yoshiyuki Ishikawa, bassoon (chair)

Peter Cooper, oboe

Daniel Kellogg, (chair)

Patti Peterson, soprano (chair)

Daniel Silver, clarinet

John Drumheller

Jennifer Bird, soprano

Tom Myer, saxophone

Carter Pann

Julie Simson, mezzo-soprano

Michael Theodore

Joel Burcham, tenor Patrick Mason, baritone

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Novem b er 2 011 Volu me 8 0, No. 4

features 12

Jazz Education Integrate jazz performance with your school’s focus on African American History Month. by clifton jones

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Cultivating Musicianship Achieve deeper levels of awareness and musical responsibility with chamber ensembles. b y k e i t h r e dpat h , ro s s i t z a goza

,

emmanuel lopez

,

and

mark bartley

19

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Vienna Boys Choir Is Coming to Texas!

With a choral heritage spanning over 500 years, this incredible vocal ensemble will be featured at the 2012 TMEA President’s Concert.

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Music Matters Four music educators offer their experience with successful individual student assessment. by rene lira

,

janette hess,

k ay pay t on, a n d

12

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On the cover: Trent Kelley, graduate of Quitman HS, performs with the 2011 ATSSB All-State Symphonic Band. Trent is attending Texas A&M University as an environmental design major and is a member of the Wind Symphony. Photo by Karen Kneten.

elizabeth shier

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Music Advocacy With precise planning, you can avoid common strategic errors in music advocacy. by john benham

columns

updates

President’s Notes.................................................... 6

by Ross Boothman

TMEA Scholarships Available.................................................................................................................................................................... 4

Executive Director’s Notes ������������������������ 8

by Robert Floyd Band Notes................................................................... 14

by Chuck Young Orchestra Notes.....................................................26

by Lisa McCutchan Vocal Notes..................................................................33

by Janwin Overstreet-Goode Elementary Notes.............................................. 45

by Michele Hobizal College Notes............................................................55

by Richard Fiese

Recognize Your Outstanding School Administrators............................................................... 11 TMEA Exhibits at School Administrator Conference................................................................ 11 Performances Inspire & Educate at the 2012 TMEA Clinic/Convention....................................................19 Thank You, Donors.............................................................................................................................................................................................. 52

Do You Receive TMEA News Emails?

TMEA communicates with you primarily via email. If you haven’t received any email from us in the last month, it’s possible your email system rejected it.

To stay informed, add the following email addresses to your email system’s acceptable email list (i.e., contact list, safe list, allow list, etc.): membership@tmea.org • news@tmea.org Southwestern Musician | November 2011

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

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

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

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

Past-President: Denise Eaton dreaton59@gmail.com 20423 Cannaberry Way, Spring, 77388 832-452-8345 – Sam Houston State University

Band Vice-President: Chuck Young cyoung@g-pisd.org 1911 Oak Ridge Drive, Portland, 78374 361-815-8482/Fax: 361-777-4272 – Gregory-Portland HS

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

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

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

College Vice-President: Richard Fiese rfiese@hbu.edu 17415 Pikes Peek Court, Tomball, 77377 281-649-3228/Fax: 281-649-3313 – Houston Baptist University

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

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

TMEA Scholarships Available Apply by November 15 to be eligible.

Are you in an undergraduate music education program?

Whether you just started a music education program or are preparing to begin student teaching, TMEA offers you support. Scholarships for undergraduate music majors (available only to active TMEA college student members) range from $2,000 to $2,500.

One-Year Undergraduate Scholarships

graduate students enrolled in a music degree program at a Texas college or university leading to teacher certification.

One-Semester Student Teacher Scholarships

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Are you a music teacher continuing your professional growth with graduate study?

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scholarships of $1,250–$2,500.

One-Year Graduate Study Scholarships

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$1,250 to $2,500.

Do you teach high school seniors who want to be music educators? ""

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in a music degree program at a Texas college or university leading to teacher certification. Scholarships for graduating seniors range from $2,500 up to $15,000. Encourage your best and brightest seniors to apply and submit all supporting materials by November 15.

Graduating Senior Scholarships ' * & +

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Go to www.tmea.org/scholarships

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

Subscription rates: One Year – $20; Single copies $3.00.

Periodical postage paid at Austin, TX, and additional mailing offices. POSTMASTER: Send address changes to Southwestern Musician, P.O. Box 140465, Austin, TX 78714-0465.

Southwestern Musician was founded in 1915 by A.L. Harper. Renamed in 1934 and published by Dr. Clyde Jay Garrett. Published 1941–47 by Dr. Stella Owsley. Incorporated in 1948 as National by Harlan-Bell Publishers, Inc. Published 1947–54 by Dr. H. Grady Harlan. Purchased in 1954 by D.O. Wiley. Texas Music Educator was founded in 1936 by Richard J. Dunn and given to the Texas Music Educators Association, whose official publication it has been since 1938. In 1954, the two magazines were merged using the name Southwestern Musician combined with the Texas Music Educator under the editorship of D.O. Wiley, who continued to serve as editor until his retirement in 1963. At that time ownership of both magazines was assumed by TMEA. In August 2004 the TMEA Executive Board changed the name of the publication to Southwestern Musician.

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Southwestern Musician | November 2011

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by Ross Boothman

President’sNotes

What’s best for the kids

eflecting on my 26 years in this profession, I can attest that each year has brought its own challenges and its share of ups and downs—especially with the state-mandated testing that over the years has changed names more times than I can remember. Still, one thing has remained constant—students are always here needing and wanting to be taught.

Members in our profession have always shared a sense of collaboration and cooperation, and this has greatly influenced the quality of our programs. The high standards set by those who taught before us helped set the bar. Our professional associations and UIL are also a big part of the puzzle that makes Texas the standard bearer for music education in our country.

My hope is that we will always be able to continue that tradition. Our country and state seem to be more divided politically than I can ever remember. Radio and television talk shows and 24/7 news

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networks all seem to pit one side against the other. Differing opinions aren’t welcomed at times as part of a discussion.

Compromise seems to have become a rarity. This antagonistic approach to resolving problems rarely results in a mutually beneficial conclusion. Even though we know that healthy discussion between two sides most often leads to the best possible resolution, this rarely seems to be the choice of our political leaders. As music educators, we need to make sure that this doesn’t become a part of our educational culture.

We need to do our best to ensure that we work together on our campuses. The divisiveness so readily found in politics has no place in our schools. Campus cooperation between departments is a must.

Whether it’s band and choir, choir and theater, or others, we must work together.

We also should be team players with those departments outside the fine arts arena.

Can we set the standard on our campus

We need to do our best to ensure that we work together on our campuses. The divisiveness so readily found in politics has no place in our schools.

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Southwestern Musician | November 2011

as the ultimate team players? Would this help promote and justify our existence on the campus? I believe so.

This same collaboration can be extended among districts as well. Offering to help new teachers in your Region and mentoring less experienced teachers are just a couple of examples that come to mind. Joint performances between neighboring districts’ music ensembles offer great possibilities for collaboration.

My principal in my first year of teaching was Charles Styles. Mr. Styles was a great person and administrator. He didn’t say a lot, but when he did speak, there was wisdom in his words. The most important thing he taught me was that no matter your role in education, you had to answer only one question when making decisions, “What is best for the kids?” He said that if we remember that and use it as our guide for decision-making, we would be a successful part of the educational process. Whether we are a school board member, administrator, teacher, custodian, bus driver, or cafeteria worker, asking what is best for the kids should always be our top priority.

The current political climate and the results of the recent legislative session have made Mr. Styles’s direction a little more difficult to follow. We have to do more with less. But the amazing thing about music educators in Texas is that we always seem to rise to the challenge. The cooperation and collaboration we have always seemed to work with is needed now more than ever. Let’s make sure we set the appropriate example in our schools so that our students are always our priority. My best to you as you continue your fall semester.

2012 Clinic/Convention I hope you are making plans to attend what will be another great TMEA Clinic/ Convention! If you haven’t already secured a hotel reservation for your time in San Antonio, go to the convention webpage to access the member housing reservation system and take advantage of the lowest rates possible for downtown hotels.

Beyond the myriad professional development opportunities that have become our tradition, at the 2012 convention you’ll reconnect with colleagues, get inspired through the amazing musical performances, and be motivated by

nationally recognized speakers. It is also simply a great time to recharge your batteries for the spring!

With all the convention has to offer, TMEA membership dues and registration fees remain unchanged. I hope you have the opportunity to take advantage of our continued low prices.

If you need documentation to support your attendance, go to Convention Promotions section of the convention webpage and download files that speak to the value of attending.

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Southwestern Musician | November 2011

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by Robert Floyd

Executive Director’sNotes

Recognizing administrators

usic teachers, along with all educators, lived through five months of anguish and stress throughout the tumultuous 82nd legislative session, never knowing whether a new cut in state funding could result in the loss of one’s job or even a total music program. While the result was truly devastating for some programs and teachers, final cuts were not as severe as what we were fearing in April. The reason was twofold. The legislature ultimately restored part of the public education funding to an amount approximately four billion dollars greater than originally anticipated. The protection of many teaching positions and fine arts programs, however, must also be credited to tough decisions made at the district and campus levels.

Those tough decisions were made by superintendents, upper-level administrators, and principals who stood in support of protecting a well-balanced education for students that includes the arts. The

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pressures on music educators cannot and should not be minimized. However, the pressure on an administrator to make very difficult decisions about which programs to keep, which teachers to cut, or what services to eliminate, all the while factoring in how each decision would affect the implementation of the new STAAR accountability system, had to be monumental, and those decisions will be ongoing. In these days when high-stakes accountability drives virtually every district-level decision, protecting a program not perceived as directly affecting an accountability rating takes courage.

Many of you reading this column are still employed because such an administrator made that tough decision to protect your program and your teaching position.

At its September meeting, the Executive Board charged the staff with devising a plan to recognize administrators who made such courageous decisions in support of arts education. As a result, I am pleased to share with you the new TMEA

Superintendents, upper-level administrators, and principals have made tough decisions to protect a well-balanced education that includes the arts.

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Southwestern Musician | November 2011

Music at TCU

Distinguished Administrator Award Program. While the initial concept was driven by a desire to recognize administrators who made difficult decisions relative to budget and staffing, nominees could be deserving for a multitude of reasons. Some other examples include accommodating scheduling, preventing TAKS pull-out from your classes, limiting class sizes and providing adequate instructional time for elementary music, and more. Certainly there are multiple reasons for selection.

We want you to tell your story about

your supportive administrator by going online to www.tmea.org/AdminAward and completing the nomination form.

Each administrator nominated will receive a letter from TMEA congratulating them on their nomination. A TMEA select committee will review all nominees and select the award recipients. A certificate will be sent to you to present to your administrator in an appropriate venue, a press release will be sent to your local media, and recipients’ names (as well as selected stories) will be featured in SOUTHWESTERN MUSICIAN in a new

TARLETON STATE UNIVERSITY BANDS putting you in the driver’s seat of your music experiences

Fall 2011 Concerts

Spring 2012 Festivals

October 4 Jazz Ensemble II October 6 Jazz Ensemble I October 9 Wind Ensemble November 21 Percussion Ensemble December 1 Jazz Ensembles I & II December 5 Wind Ensemble Multimedia Concert

February 17 Percussion Festival March 24 50th Anniversary of the Tarleton Jazz Festival March 29-30 Invitational Band Festival Composer-In-Residence Frank Ticheli (a pre-UIL / ATSSB Concert & Sight Reading adjudicated festival)

all concerts & festivals are located on the Stephenville campus at the Clyde H. Wells Fine Arts Center

for more information: band@tarleton.edu 10 Southwestern Musician | November 2011

Administrator Spotlight series.

The beauty of this plan is that the recognition will not go to just one administrator but to all who are deserving as determined by the Review Committee.

The first nominees will be reviewed beginning November 1. I encourage you to go to www.tmea.org/AdminAward and nominate the administrator who made the difficult decision to protect arts education on your campus or in your district.

This is a wonderful advocacy opportunity for you at the district and community level, as well as for music education across the state.

SBOE November Meeting Update At its November meeting the State Board of Education will revisit the TEKS review schedule and the instructional material adoption cycle relative to fine arts and other academic subjects. With the budget cuts and the passage of SB 6, the instructional materials and technological equipment allotment bill, there is certainly a new set of dynamics potentially affecting this entire process.

Review of the fine arts TEKS was to begin in June. The process was delayed to August, and then until October. Writing team members had already been appointed and notified, and the experts had already been asked by TEA curriculum staff to begin the review of the current TEKS in anticipation of that first meeting in October. The staff recommendation at the September SBOE meeting, however, was to delay the beginning of that process until April 2012. While the delays were defendable because of the special legislative session, TEA budget cuts, and what is now a skeletal curriculum staff at TEA, our fine arts teachers have patiently waited years for their turn to review and revise our current standards. TMEA has encouraged the Board members to not delay beyond the April start date, or even more disheartening, to delay indefinitely.

We believe the votes are present to confirm the April start date at the November meeting. Hopefully funding for instructional materials will follow. The January issue of SOUTHWESTERN MUSICIAN will contain more detailed information about Board action, a time line for TEKS review completion and implementation, and hopefully an instructional materials cycle that includes fine arts.

Recognize Your Outstanding School Administrators Nominate your upper-level school administrators who have been integral in maintaining strong music education programs at your campus or district.

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exas Music Educators Association will soon be recognizing upper-level school administrators across the state who have been instrumental in preserving quality music education programs on their campuses and in their districts.

Given the state of education funding and the continuous struggle at all levels to keep quality fine arts education in schools, it is crucial that we take every opportunity to highlight the many successes present in numerous schools across our state.

From districts with only a single elementary, middle, and high school to those with multiple 5A campuses, administrators have great influence over a program’s opportunity for success.

Through this recognition program, TMEA has the opportunity at the state level to thank these individuals for their dedication and support. At the local level, this offers you another opportunity to share your success story with the community.

The Process Nominate your campus or district upper-level school administrator by completing an online nomination at www.tmea.org/

AdminAward. The first round of nominations will be reviewed starting November 1. Nominations will continue to be received and reviewed regularly following this date.

The Recognition Each administrator nominated will receive a letter from TMEA Executive Director Robert Floyd acknowledging their nomination and thanking them for their support of music education.

Administrators who are identified as deserving special recognition (by a review panel of TMEA leaders) will receive a TMEA Distinguished Administrator Award certificate. They will also be listed in an issue of SOUTHWESTERN MUSICIAN and TMEA will send press releases to their local media for coverage.

TMEA will also highlight the stories of one or more awardwinning administrators in a new SOUTHWESTERN MUSICIAN article series, “Administrator Spotlight.�

If you work with an administrator who has been central to your ability to have a successful music education program, please take a moment and nominate them for this recognition.

TMEA Champions Value of Music Education at School Administrators Conference TMEA recently exhibited at the TASA/TASB convention, sharing advocacy materials and visiting with superintendents and school board members from across the state. TMEA’s presence served to remind school leaders of the importance of music in the overall

Decatur and Southwest ISDs gave wonderful presentations during the general sessions. In his keynote address, Commissioner of Education Robert Scott spoke to the importance of quality arts education and encouraged administrators not to remove students from enrichment subject classes for TAKS remediation.

Southwestern Musician | November 2011 11

photos by Cody LeBlanc

by Clifton Jones

Integrate jazz performance with your school’s focus on African American History Month.

n February, our high school jazz ensemble performs a program for the intermediate schools as part of African American History Month. Through this musical presentation, we educate young students about the history of jazz and spark their interest in participating in the instrumental music program. The program is designed to fit the activity schedule at the school (about 40–45 minutes per campus) and takes place in an auditorium, a cafeteria, or a gym, depending on available facilities. Our emphasis is on jazz music and the history of jazz.

The program usually includes selections from the following repertoire: blues or blues style; traditional New Orleans jazz or second line style; swing; bop (late ’40s–’50s jazz); Latin-style, since the African-American influence is also in the Caribbean and South America; and more contemporary (usually a funk chart and whatever else time allows).

The arrangements we use are fairly moderate in difficulty (Hal Leonard or Alfred/Belwin young jazz ensemble arrangements work well for this). I read a brief script for each piece to offer some history and information on the musical style and the artists.

Prior to a performance, we schedule the program and facilities with the campus administrator, have transportation coordinated for students and equipment, and take care of any other administrative needs in advance.

We are fortunate in our district to have a daily jazz ensemble period at the high school, so we usually start rehearsing for the program at the beginning of the second semester. Performing in February works very well, since the rest of the school year becomes crowded with testing, music contests, and holidays.

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Educational Benefits The jazz ensemble is ideally suited to perform for educational assemblies during African-American History Month and offers many students an introduction to this important music that they otherwise might not experience. It’s a perfect opportunity for the jazz program to “edu-tain.” Not only have these performances 12 Southwestern Musician | November 2011

been educational for the students who attend, but they have also helped educate teachers, administrators, and our students in the jazz program. They also help fulfill the Music TEKS in the creative expression/performance strand that students play a wide variety of repertoire individually and in groups as well as the TEKS in the historical/cultural heritage strand that the students relate music to history, to society, and to culture.

Performance Benefits High school students really seem to enjoy performing for younger listeners, and the response from intermediate and middle school students and teachers has been great. We try to feature many soloists from each section. These performances can provide an educational opportunity for students to cover different styles of jazz music. Music festivals are usually in March and April, so I limit the difficulty level of the music for the jazz history program, but there are many well-written and suitable arrangements available.

Public Relations Benefits This program has increased the visibility and participation in the jazz ensemble and high school music programs with younger grade levels, and within the school district. Administrators appreciate how the performances are educational and well organized.

It’s often a welcome break for younger students (and teachers) to hear a live performance. Many younger students are not aware of the music programs at the middle school and high school level, so this is an excellent recruitment opportunity.

While February offers this cross-curricular opportunity for jazz ensembles, this is just one example of the wealth of opportunities that exist for you to use musical performances at feeder schools for education, advocacy, and recruitment.

Clifton Jones is a band director at A&M Consolidated HS in College Station ISD.

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The app works with the MIE3 system as well as some older configurations. For more information about Yamaha MIE, visit www.4wrd.it/mieswm2 or scan the code below. For details about the app’s compatibility with your current MIE classroom, please email miesales@yamaha.com today. ©2011 Yamaha Corporation of America. All rights reserved. iPhone and iPad are trademarks of Apple Inc., registered in the U.S. and other countries.

by Chuck Young

BandNotes

A rewarding journey hen you’re sitting on your front porch looking back on your career, what will be going through your mind? Your first day of teaching? Past students who continue to keep in touch from time to time? Those great, once in a lifetime performances that you could feel and see in the eyes of every student? Will it be the everyday grind that can consume the life of every band director? Or will it be the daily improvement of the students that you teach? The rewards of teaching band are many and are different for each of us. You have become the band director you are today through your experiences in band, just as each of your students have grown from their daily experiences.

Reflecting on our memories can be a rewarding process for each of us.

A band program that goes beyond the basics and offers each student an individual intrinsic experience through extensive repertoire, skill development, and listening can foster the kind of musical appreciation that lasts a lifetime. Quality must be the standard in order to achieve this lasting value for our students.

One of my favorite aspects of teaching band is watching the progress that takes place. Sometimes it’s so minute that an average observer might miss it. Other

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times, it’s so unbelievably big, the students and I have to step back in amazement. This progress, however, is not like winning a contest. Yes, it requires endurance and, at times, extreme exertion. But the journey, not the result, is the reward.

Throughout this journey, remember to give yourself the respect you deserve for facilitating it.

Through band, students learn many skills beyond the musical achievements we each work so hard to support. I hope that, as your students will, you will be able to look back with pride on your band experiences. With a positive daily outlook, your students will remember the great things you did for them and that you accomplished together.

Region Jazz Auditions Region Jazz auditions were recently completed. Thanks go to everyone for the hard work and effort during these auditions. Region Band auditions will be starting soon for most of us. Please take the time to complete your entries accurately and by the posted deadlines (14 days before the audition date). Some of the biggest problems occur when the student information has been entered inaccurately or not at all. Your Region Chairs and contest hosts dedicate a lot of

While musical progress requires endurance and, at times, extreme exertion, it isn’t like winning a contest. The journey, not the result, is the reward.

14 Southwestern Musician | November 2011

time to making these auditions happen smoothly. Let’s all make sure we do our part to ensure that continues to happen.

Best of luck to you and your students during the auditions!

All-State Specialty Instrument Contrabassoon is the only specialty instrument for 2012 All-State ensembles.

Audition materials and the entry form are on the Band audition materials pages on the TMEA website. The deadline for submitting recordings is December 15.

2012 Clinic/Convention Update We are in for a real musical treat at the 2012 TMEA Clinic/Convention.

Four outstanding university bands have been invited to perform in Lila Cockrell Theater. They are preparing great programs for us all that will showcase their talented students, and it will be a pleasure to share in their success.

Sam Houston State University Jazz Ensemble Aric Schneller, Conductor The Jazz Ensemble is the first of two jazz performance ensembles for the School

of Music at Sam Houston State University. The Jazz Ensemble employs a diverse spectrum of repertoire consisting of the most current contemporary jazz compositions as well as traditional jazz standards. SHSU has hosted the oldest jazz festival in the state of Texas now with 51 years of festivals. In 2011, SHSU presented a new Bill Watrous Jazz Festival with the hope of preserving Watrous’s legacy of jazz performance and education by presenting guest artists and clinics for students, teachers, and enthusiasts. Previous Sam Houston State University Jazz Ensemble accomplishments of the Jazz Ensemble include performing as a demonstration group at the 2011 TMEA conJazz Festival, six members of the Jazz vention, San Jacinto Community College Ensemble received outstanding perforBrass 2011 Conference, and the 2002 mance awards.

TMEA convention. At the 2001 Wichita Aric Schneller has just completed his

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meredithmusic.com 16 Southwestern Musician | November 2011

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third year as Assistant Professor of Music and Director of Jazz Studies at SHSU. Schneller’s duties include directing the Jazz Ensemble and Jazz Lab Band, teaching jazz improvisation, teaching summer jazz camps, directing the annual SHSU Bill Watrous Jazz Festival, and coordinating the Jazz Studies Program. Before coming to SHSU, Schneller taught at Idaho State University, the University of North Texas, and the public schools

of Justin, Texas. Schneller is a trombone clinician-artist for Conn-Selmer, Inc., and is a member of ASCAP. Baylor University Wind Ensemble Eric Wilson, Conductor The Baylor University Wind Ensemble, organized in 1972, is guided by a philosophy that seeks to expose students and audiences to the highest quality music written or adapted for wind instruments.

The repertoire represents diverse periods of music history, ranging from music of the Renaissance to works commissioned by and for the group and its conductor.

In nearly four decades of existence, there have been only four permanent conductors of the Baylor Wind Ensemble.

Under former directors Richard Floyd, Michael Haithcock, and Kevin Sedatole, the ensemble firmly established itself as one of the premier college wind bands

Baylor University Wind Ensemble

West Texas A&M University Symphonic Band

University of Texas at Arlington Wind Symphony Southwestern Musician | November 2011 17

performing at TMEA, CBDNA, and ABA conventions. Furthermore, the group has been featured on numerous recordings, particularly highlighting the music of Steven Stucky, Daron Hagen, and Scott McAllister.

In 2006, Eric Wilson became the conductor of the Baylor Wind Ensemble, where he continues the legacy of musical excellence and the pursuit of new repertoire commissions and performance opportunities. In the past six years, Wilson and the ensemble have collaborated with numerous guest conductors, performers, and composers of national and international stature, completed six tours throughout Texas, and presented concerts and clinics at prestigious state and national conferences.

Prior to joining the Baylor faculty, Wilson served 12 years on the faculty of Abilene Christian University. He holds a doctor of musical arts and master of music degree from the University of Michigan and a bachelor of music education degree from ACU. Prior to his university appointments, Wilson taught in the Texas public school system.

West Texas A&M University Symphonic Band Don Lefevre, Conductor The West Texas A&M University Symphonic Band consists of the most select wind and percussion performers on campus. Each fall and spring, 60 members are chosen through a competitive audition process open to the student body. The

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You Don’t Want to Miss It! 18 Southwestern Musician | November 2011

strong support for and involvement in the band program by the wind and percussion faculty creates an atmosphere conducive to effective teaching which ensures the success of the program.

During the last five decades, there have been only two conductors of the West Texas A&M University Symphonic Band.

Under the direction of Gary Garner and Don Lefevre, the Symphonic Band has established a national reputation through past performances at the College Band Directors National Association, Carnegie Hall, and 12 previous performances at the TMEA convention.

Graduates from the WTAMU Symphonic Band are among the most influential leaders in teaching positions at the elementary, secondary, and collegiate levels and hold positions in orchestras around the world.

The WTAMU Symphonic Band has also been selected to perform in March at the 2012 College Band Directors National Association Southwest Regional Convention.

University of Texas at Arlington Wind Symphony Douglas Stotter, Conductor The UT Arlington Wind Symphony consists of approximately 50 of the most talented wind, brass, and percussion students on the UTA campus. Its repertoire ranges from traditional band works, to one-on-a-part chamber works, to world premieres. Conducted by Director of Bands Douglas Stotter, the ensemble has

NOW: Make your hotel reservation online December 31: Fax/ mail pre-registration ends January 12: Online pre-registration ends

performed at numerous conventions of TMEA and the College Band Directors National Association. In addition, the Wind Symphony has toured extensively throughout Texas and Mexico and has performed in Carnegie Hall. The ensemble is actively involved in promoting and commissioning new pieces for wind band.

In recent years, the ensemble has collaborated with composers David Maslanka, John Mackey, and Joel Puckett, among others.

In addition to conducting the Wind Symphony, Stotter teaches undergraduate and graduate conducting and wind literature courses while overseeing all aspects of the wind and percussion division in the music department. In 2010 he was named principal conductor and music director of the Dallas Civic Wind Ensemble, a professional wind band. He is active as conductor, clinician, and adjudicator throughout the U.S. and has also appeared as a guest conductor and clinician in Japan, China, Thailand, Malaysia, and Singapore. Stotter is the author of Methods and Materials for Conducting, a textbook for undergraduate instrumental conducting courses published by GIA Publications.

Important Dates November—Make your convention housing reservation online.

November 12–13 —All-State Jazz CD judging.

November 12 (evening)—All-State Jazz first round audition results posted for directors.

November 14—All-State Jazz audition results posted for directors.

November 15—All-State Jazz members posted on TMEA website.

November 15—TMEA scholarship application deadline.

December 15—All-State specialty instrument CD postmark deadline.

December 15—Deadline for submitting Dual Area Certification selection.

December 31—TMEA convention mail/ fax pre-registration deadline.

January 7, 2012—Area Band and Vocal auditions.

January 12, 2012—TMEA convention online pre-registration deadline.

February 8–11, 2012—TMEA Clinic/ Convention in San Antonio.

2012 TMEA

CLINIC/CONVENTION ) H E U X D U \ ² ‡ 6 D Q $ Q W R Q L R PERFORMANCES INSPIRE & EDUCATE

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2012 President’s Concert Vienna Boys Choir

photo by Lukas Beck

Choose from over 50 performances by top Texas music ensembles!

P.M. Lila Cockrell Theater, San Antonio Purchase tickets when you pre-register for the convention or anytime on or before January 12 by returning to the pre-registration webpage and selecting to purchase concert tickets.

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With over 100 choristers between the ages of ten and fourteen, the Vienna Boys Choir is divided into four touring choirs who give around 300 concerts and performances each year in front of almost half a million people.

w w w. t m e a . o r g /c o n v e n t i o n Southwestern Musician | November 2011 19

We Are Serious About Singing In the photo - Combined UTSA Choirs and Orchestra join together to perform Handel’s Messiah, featuring student soloists, in the UTSA recital hall during the department’s annual “Winterlude” performance.

This annual event provides an opportunity for some 200 singers and instrumentalists to collaborate in the performance of a major work.

This year’s “Winterlude” features bands, choirs, orchestras, soloists and small ensembles across the Main Campus December 1st through 4th.

Visit http://music.usta.edu/events for more information.

Bachelors Degrees

Bachelor of Arts

Masters Degrees

Composition Music Education Music Marketing Performance

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

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The University of Texas at San Antonio Department of Music

facebook.com/UTSAMusic (210) 458-4354 http://music.utsa.edu

By Keith Redpath, Rossitza Goza, Emmanuel Lopez, and Mark Bartley Editor’s Note: While the examples offered in this article are orchestral in application, the concepts are equally valuable for other music ensembles and can be effectively applied to achieve the ultimate goal of developing student musicianship. laying without a conductor drives musicians to deeper levels of awareness and responsibility. In a chamber music setting, students learn that they must use their ears to hear each other and their eyes to see each other’s bow placement, bow speed, and body language. Furthermore, a student in a small ensemble is solely responsible for their part.

This responsibility drives the learning forward. Students must be completely tuned in with their group to stay together, play in tune, and have a unified approach to musical style, articulations, and tone. This type of awareness is at the heart of strong musicianship.

In 2004, the Harrington String Quartet began a chamber music program for student leaders in the string program at West Texas A&M University. The purpose was to provide students with weekly coaching and instruction in chamber music groups as well as regular performance outlets. The Harrington String Quartet created the following guide, intended for high school directors and private teachers, to help set up meaningful chamber music experiences for their students. The guide is aimed at teaching students the musicianship skills that lead to greater musical enjoyment and success.

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Choosing Repertoire The first step is selecting suitable repertoire for your students. In choosing repertoire, remember that you are working to develop students’ musicianship. Select pieces that are not overly difficult and that illustrate a particular style well. There is a wealth of quality repertoire on the UIL Prescribed Music List.

Sally O’Reilly’s Selected String Quartet Movements (three volumes) is another great resource which includes selections from great quartet literature and excellent direction in the preface under

“rehearsal tips.” Biographies of the composers are also included in these volumes (published by Neil A. Kjos Music Company).

Listening to Style Once repertoire is selected for a group, have the students listen to multiple recordings/interpretations of the score. Lead them in a meaningful conversation about various aspects of the piece, such as whether the music is light or heavy, lyrical or rhythmic; whether it features melody and accompaniment or a more polyphonic texture. Examine the role of each instrument as the music progresses. Does a particular player provide melody, countermelody, rhythmic energy, or harmonic support? When does that player’s role change? Which other players are joining in the same role? Describe the characters, tempi, and dynamics in the music.

Students will enjoy expressing their thoughts about the music and, most importantly, developing an imaginative concept before picking up their instruments.

Score Study Score study is an essential element in building a student’s musicianship.

Most professional musicians experience an epiphany when first listening to a musical work while watching the full score. Each chamber ensemble musician must have a copy of the score to the music they are preparing. In addition to developing an increased appreciation for the music, looking at the score will help students identify their playing buddy—the one with the same role or rhythm. From score study, students need to be taught how to mark their parts. Shorthand

Southwestern Musician | November 2011 21

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

F R I D AY

( VO I C E A N D K E Y B O A R D O N LY )

( V O I C E O N LY )

December 3, 2011

F R I D AY

January 13, 2012

( V O I C E O N LY ) S AT U R D AY

January 14, 2012

January 27, 2012

S AT U R D AY

January 28, 2012

S AT U R D AY

February 18, 2012

Auditions are required of all entering and transferring music majors.

B AY L O R U N I V E R S I T Y S C H O O L O F M U S I C

YOUR FIRST CHOICE s 4RANSFORMING MUSICAL AND ACADEMIC EXPERIENCES The Baylor School of Music is dedicated to helping you fulďŹ ll your musical hopes and career dreams. s )NDIVIDUAL ATTENTION THAT ONLY FULL TIME resident faculty can provide. From the beginning of your Baylor experience, you will study with our veteran teachers who will focus their full attention on you. s %XTRAORDINARY PERFORMANCE EXPERIENCES You can hear for yourself the polished quality of Baylor’s ensembles and individual students by attending performances in such places as TMEA conventions. s &RIENDSHIPS AND PROFESSIONAL CONTACTS THAT WILL LAST A LIFETIME Baylor is about connections. Your closest friends and most valuable colleagues are waiting for you in the School of Music. s 3CHOLARSHIPS &OR UNDERGRADUATES four- and ďŹ veyear packages valued at up to $100,000. For graduate students, stipends and tuition remission equaling as much as $16,000 per year. &OR MORE INFORMATION Baylor University School of Music /NE "EAR 0LACE s 7ACO 48 www.baylor.edu/music and click on “For Prospective Studentsâ€? s $ELORIS?!CEVEDO BAYLOR EDU

symbols are very useful for indicating helpful information such as playing buddies, primary or secondary voice, subito dynamics, another player’s rhythm, and more. The following are some commonly used symbols: Vn (1 or 2): Violin 1 or 2 Va: Viola Vc: Cello L

p: Subito piano

H–: Hauptstimme—primary voice N–: Nebenstimme—secondary voice GP: General pause (no one plays on that rest) ¬: To show a phrase ending Rhythmic notation: To show rhythm of another part When students look at a score and mark their parts, they have begun their journey to greater awareness and are more likely to become attentive listeners when they play together. Ultimately, this awareness will become a natural and thrilling part of the music-making process.

Intonation Achieving good intonation on string instruments is a continual challenge and requires a multi-step process. Before rehearsing, students need to learn about proper instrument maintenance and be able to tune well. Remind students that sudden temperature or humidity changes can damage their instruments and make tuning a nightmare. Strings should be changed every 4–6 months so they don’t become “false.” Consistently check the pegs for smooth turning ability. Students are often not proficient with instrument tuning simply because they can’t turn the pegs or are worried about the pegs slipping. Inexpensive peg compound products are the solution for stuck or sticky pegs and can be found at some local music stores and online at major string supply stores.

String ensemble members should practice tuning their instruments together.

Professional string quartets tune with tempered, or tight, fifths so that they will sound in tune over large ranges (up to 5 octaves) and in different keys. Using the tuning pitch A440 as the central pitch, do not let the open strings below the A get too low and do not let the open E string above the A get too high. After a group

tunes their instruments, they need to check open strings with each other and then play a C-major chord using only open strings as follows: cello–open C, viola–open G, violins–open E. The three octaves and a third between the cello and the violins will often sound a bit too wide, but if tuning to tight fifths has been accomplished, it will sound acceptable.

With well-tuned instruments, students can explore intonation difficulties in the music they are rehearsing. At this point, students can learn about chords and their components—the root, third, fifth, and occasionally the seventh. They can then practice tuning chords together by adding voices: first the roots, then the 5ths, and finally the 3rd and the 7th. Another proven technique includes having one of the players sustain the root of the harmony as a drone while the others play their parts slowly, listening carefully to how their notes sound against the drone.

When there are octave unisons, the lowest voice should play strongly, so that the upper voice(s) can be aware of the lowest voice and tune to it.

Tone Production Integral to solving the intonation puzzle is to have students work carefully on their tone production. Clarity of tone will lead to clarity of hearing and clarity of intonation. It is essential that leaders in an orchestra be cognizant of others’ basic bow strokes and the part of the bow being used. When students strive to match tone production variables such as bow speed, arm weight, sounding point, and vibrato, their awareness of each other and their blend of sound (intonation included!) will continue to improve. Bach chorales provide a wonderful warm-up for working on centering intonation and tone. Bach Chorales for Strings arranged by Richard E. Thurston (includes full orchestra) and published by Southern Music Company is a great resource.

Cueing The small chamber ensemble offers the ideal environment to work with students on a crucial musicianship skill—cueing.

The first point to realize is that everyone is a leader—there are no passive followers. Just like a conductor, students need to learn to rely on the preparatory beat for good cues. A successful preparatory beat communicates tempo, dynamic, and Southwestern Musician | November 2011 23

character information to the members of the ensemble. Good preparatory beats need to be shown at the beginning of a piece, after a grand pause, or at the beginning of a new phrase or entrance.

Good cueing is all about breathing.

Preparatory beats are communicated with a breath in and gesture upward with the arms and torso. Breathing can be the most powerful unifying factor in an ensemble.

Students need to work on consciously breathing together on preparatory beats.

There are many good exercises for chamber groups to work on cueing and ensemble. To work on this skill, members of the ensemble should take turns initiating the cues. An excellent exercise is to have one student initiate a cue that communicates tempo, dynamic, and character.

All but one of the other members of the group respond actively to the cue and play different subdivisions of the beat, such as 8th notes or 16th notes, or both. After a while, the remaining member will initiate another cue that changes the tempo and dynamics. Students can then be asked to evaluate how aware they were of each other and how successful the cueing was.

24 Southwestern Musician | November 2011

Performance Opportunities Allotting time for a chamber group to work together during orchestra class is well worth the investment. Chamber groups will also need a coach who can work with them regularly. This could be their music director, private teacher, or another local professional. Nothing motivates students like a performance, so incorporate chamber group performances into orchestra concerts. A chamber group could even play the national anthem for a pep rally or a game! Music directors need to be imaginative to ensure chamber groups have valuable performance opportunities.

Orchestral Application As the principals and others seated at the first few desks develop chamber music skills, the techniques described here can be applied to the full orchestra. Here, the chorales of Bach can be employed to great effect, particularly in regard to cueing, tone production, and intonation.

For example, have the concertmaster (or principal of a section) begin and end a phrase of the chorale. All should breathe

the preparation together. Direct students to match the bow distribution of their principal. For the moment, the conductor is relieved of gestural responsibilities and can roam the room, offering individual instruction. As students become aware of how ensemble playing is achieved through attention to each other and not just the conductor, rehearsals will become more engaging, productive, and satisfying.

Good musicianship is developed through time, experience, and awareness, and it is communicated by example. Good leaders communicate with good cueing and good habits. When student leaders bring heightened awareness and the consequent good habits to the rehearsal room, they will drive the learning and performance quality forward for everyone.

At West Texas A&M University, Keith Redpath and Rossitza Goza are Harrington Lecturers in Violin and Chamber Music, Emmanuel Lopez is a Harrington Lecturer in Cello and Chamber Music, and Mark Bartley is an Assistant Professor of Music and Director of Orchestral Activities.

by Lisa McCutchan

OrchestraNotes

Selecting suitable literature

t is so hard to believe that the first semester is almost over! Each year at this point, I begin to assess our orchestras on a different level, a view that helps me select music for each group’s participation in UIL contest. Half the battle of preparing for contest is choosing the proper literature that suits each performing ensemble. Once the music selection is complete, the preparation takes care of itself. The following is part of the process I have used over the years for selecting appropriate literature for our performing ensembles.

First I assess the strengths and weaknesses of the personnel in each ensemble.

Are there virtuosic players to be featured?

Is there depth in the group—are there players on each stand with good performance skills? I also consider the balance between the sections—are they equal and proportionate?

Next I consider the enjoyment factor. That is, will the students enjoy the learning experience that will come from rehearsing this music? The students’ enjoyment prompts them to practice the

I

music and invest the time to perform it well. If they enjoy the music, the product will be of higher quality.

Another assessment for me is the worthiness of the music compared to the time required to create a quality performance.

The students must have a certain level of technical skill to be able to play from the grade 5 literature list. If there are bowing or shifting concerns that will not work for the group overall, the music is probably too difficult and will not demonstrate the capabilities of the ensemble.

Finally, I assess the amount of rehearsal time required by the ensemble for the music selected. If the music cannot be taught in six weeks, the music is once again too difficult. If the students can sightread the music within a class period, it is too easy for them. Music has to be a challenge but shouldn’t present an unattainable goal.

My personal goal is to select music each year that demonstrates the improvement in the ensemble, while keeping the preparation positive, exciting, and challenging.

The students’ enjoyment prompts them to practice the music and invest the time to perform it well.

26 Southwestern Musician | November 2011

Competitive Scholarships & Performance Awards

Audition Dates January 28 – 29, 2012 February 25 – 26, 2012 (see website for details)

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

Music Department Faculty Jason Hoogerhyde, Department Chair

Conducting & Ensembles

Music Literature

Voice & Opera Theatre

Lois Ferrari, Orchestra & Wind Ensemble David Guidi, Jazz Ensemble Kenny Sheppard, Chorale & Southwestern Singers

J. Michael Cooper, Margarett Root Brown Chair in Fine Arts Jeffrey Grimes

Bruce Cain Carol Kreuscher Kenny Sheppard Oliver Worthington Dana Zenobi

Keyboard

David Asbury, guitar Delaine Fedson, harp Steve Kostelnik, guitar Eri Lee Lam, violin Tim Washecka, viola Hai Zheng, violoncello & string bass

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

Music Education Lois Ferrari Kenny Sheppard

Strings

Theory & Composition Jason Hoogerhyde Eileen Meyer Russell Kiyoshi Tamagawa

Woodwinds, Brass & Percussion Robert Cannon, trumpet Anna Carney, clarinet Susan Douglas, oboe David Guidi, saxophone Adrienne Inglis, flute Erin Martysz, percussion Eric Stone Miller, bassoon Brigette K. Parsons, horn Eileen Meyer Russell, low brass

1001 E. University Ave Georgetown, Texas 78626 (512) 863-1504 music@southwestern.edu www.southwestern.edu/sarofim/music

All-State Specialty Instrument Contrabassoon is the only specialty instrument for 2012 All-State ensembles and is being auditioned through the Band Division. Audition materials and the entry form are on the Band audition materials pages on the TMEA website.

The deadline for submitting audition CD recordings for specialty instruments is December 15.

2012 Clinic/Convention Update I hope you have made plans to attend our February convention and that you have taken the opportunity to reserve your hotel room using the TMEA discounted hotel reservation system linked from www.tmea.org/convention. In the August and September issues, you learned about our featured clinicians and All-State conductors. This month, take a moment to read about three of the five orchestras that will be in performance during the convention. The remaining two (HS String Honor Orchestra and the University of

North Texas Symphony Orchestra) will be featured in our January issue. You can also look forward to the December magazine that will feature a complete convention schedule preview.

MS/JH String Honor Orchestra Sartartia MS String Orchestra Ann Victor, Director The Sartartia MS orchestra program is in its tenth year, having begun in 2001 when this school opened in Fort Bend ISD. During this time, it has remained under the direction of Ann Victor. With nearly 200 students enrolled, the staff was expanded to include Courtenay Vandiver as part-time director in 2010. In the fall of 2011 the position became full-time and Sophia Hsieh joined the Sartartia Orchestra team as the full-time assistant.

Most students in the orchestra program at Sartartia begin their music studies in the sixth grade. Nearly 60% of the students performing at the 2012 TMEA Clinic/Convention have been studying

their string instrument for under three years. Beginning string classes are taught in homogeneous groups divided by upper and lower strings. Meeting on a daily basis, these classes emphasize posture, fundamentals of tone and production, and music reading skills—elements that are continuously stressed and refined as each student progresses. The intermediate level string classes emphasize ensemble and performance skills.

The Sartartia Symphony Orchestra performed at the Midwest Clinic in 2002, was selected the middle school winner at the 2005 National Orchestra Festival sponsored by ASTA in Nevada, performed on the Great Wall and in Beijing, China, in 2006, performed at the Midwest Clinic in 2007, and was the featured MS orchestra at the ASTA Conference in 2009 in Atlanta.

Additionally the Sartartia Orchestra was a 2011 Mark of Excellence national winner in the MS String Orchestra category.

The orchestra’s performances have been

Sartartia MS String Orchestra

Beckendorff JH Full Orchestra 28 Southwestern Musician | November 2011

Plano Senior High Full Orchestra

featured on the Live from Lincoln Center website.

Steber with assistant directors Shaun Hillen and Darlene Blose.

MS/JH Full Honor Orchestra Beckendorff JH Full Orchestra Matthew Porter and Susan Steber, Directors The Beckendorff JH orchestra program, under the direction of Matthew Porter, began in 2004 when the school opened in Katy ISD. Since that time, the program has grown from 64 string students to their current enrollment of 240 string players from grades six through eight. The orchestra program is composed of three beginner orchestra classes, four performing ensembles, and the full orchestra that meets outside the school day. Every orchestra from Beckendorff has earned Sweepstakes awards at UIL Concert and Sightreading Contest since the school’s opening. The Beckendorff varsity orchestras have been selected twice by the Foundation for Music Education as a National Winner in the Mark of Excellence/National Orchestra Honors project. In addition, the Beckendorff Honor Orchestra has placed in the finals for the TMEA Honor Orchestra competition the last three years. The full orchestra, Beckendorff Symphony, was formed in 2007 and currently rehearses once a week after school. The symphony has placed in the finals of the TMEA Honor Orchestra competition three times in the last four years and has consistently earned top honors and awards at contests.

The Beckendorff Symphony is under the direction of Matthew Porter and Susan

HS Full Honor Orchestra Plano Senior High Full Orchestra Brian Coatney, Jeremy Kondrat, Stefanie Hayes, Directors Plano Senior HS is designed for the final two years of a student’s public school program, offering a wide variety

of academic and career major studies.

The music curriculum of this school includes orchestra, band, choir, jazz band, and music theory. The Plano Senior Fine Arts Department has exhibited a longstanding tradition of success evidenced by several TMEA Honor group performances, Midwest International Band and Orchestra Clinic invitations, and two Grammy Signature School awards.

Southwestern Musician | November 2011 29

The Plano Senior HS Symphony Orchestra consists of students from the Chamber and Symphony String classes along with the principal wind players from the Wind Symphony. Beginning in December, the Symphony Orchestra meets once a week for two hours to prepare their concert programs for the spring semester.

The key to the symphony’s success is the extraordinary talent of the students, their tireless dedication to the process, and the orchestra and band directors working together to make exceptional music. Over the past decade the PSHS Symphony Orchestra has consistently earned Sweepstakes Awards at UIL contests as well as numerous best-in-festival awards at national music competitions.

Through international competition, the PSHS orchestra program was invited in 1993 and 2003 to perform at the prestigious Midwest International Band and Orchestra Clinic in Chicago. The Symphony Orchestra was also selected as the TMEA Honor Full Orchestra, and its members are excited to have the opportunity to perform great music from their hearts.

Important Dates November—Make your convention housing reservation online.

November 12–13—All-State orchestra CD recording judging.

November 12 (evening)—All-State Orchestra first round audition results posted for directors.

November 14—All-State Orchestra audition results posted for directors.

November 15—TMEA scholarship application deadline.

November 15—All-State Orchestra members posted on TMEA website.

December 15—All-State specialty instrument CD postmark deadline.

December 15—Deadline for submitting Dual Area Certification selection.

December 31—TMEA convention mail/ fax pre-registration deadline.

January 12, 2012—TMEA convention online pre-registration deadline.

February 8–11, 2012—TMEA Clinic/ Convention in San Antonio.

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

www.tlu.edu/music

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

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

Adam Bedell, Percussion

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

Da capo Award in Music Up to full tuition per year Audition and interview will take place on campus during the Pacesetter event on Feb. 27, 2012.

Jones Fine Performance Arts Award for Awards for Music Majors Non-Majors Up to $4,000 per year Up to $2,000 per year Auditions will take place Feb. 26, 2012 2-4 p.m.; March 24, 2012 10 a.m.-noon; April 21, 2012 10 a.m.-noon.

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30 Southwestern Musician | November 2011

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November 18-19 February 3-4 March 9-10 To schedule an audition:

www.okcu.edu/music musicadmissions@okcu.edu

405.208.5980

I N U

BACHELOR OF MUSIC Performance

Instrumental, Vocal, Music Theater, Piano, Organ

Composition Education Church Music Music Business

BACHELOR OF ARTS Music Music/Pre-Medicine Music/Pre-Law

MASTER OF MUSIC Composition Conducting Orchestral, Choral, Wind

Music Theater Opera Performance Performance Instrumental, Vocal, Piano, Organ

Vocal Coaching

I AM

TEN YEARS OF PLAYING GREAT JAZZ

am a professional music educator.

As such, I try to represent myself in that way whenever I am working in the capacity as a choir director. The most obvious first impression we make is through our personal appearance. What do we wear when we teach? How do we represent ourselves and our profession when we attend meetings in our schools, community, and Regions? What do we wear for performances?

Day-to-day: In a public school setting, teacher dress code may be prescribed by the local school district or administration. Within those boundaries, do we present ourselves as professionals? Do our students, our administrators, and our parents regard us as professionals? While many school districts have casual Fridays, we must be sure to present ourselves professionally, even within this more relaxed dress code.

Community/Region Events: Do we dress professionally at auditions and clinics? Whether attending a school board

I

by Janwin Overstreet-Goode

VocalNotes

Dress for success

meeting, Region fall meeting, or audition, we should ensure that we represent ourselves and our profession in the best light possible.

Concerts: If our students are wearing formal attire, we should also wear formal clothing. We shouldn’t expect more from our students than we are willing to do ourselves. We also need to be aware not only of how we look from the front but also of how our concert attire appears from the audience perspective, including while we conduct.

How else do we represent ourselves as professionals? A very important aspect is through our interactions with our colleagues. Since we chose this profession to serve our students, not only do we need to be advocates for our own programs, but we should also be aware of the needs of others in our Regions and across the state.

We should all play fair and be courteous to each other. A spirit of cooperation will go a long way toward making the functioning of our organization a positive

We should all play fair and be courteous to each other. A spirit of cooperation will go a long way toward making the functioning of our organization a positive experience for all.

Southwestern Musician | November 2011 33

A professional stays current on the state of their profession and attends clinics and workshops to increase their job skills.

Opportunities for professional growth and development will be abundant at the 2012 TMEA Clinic/Convention. In addition to numerous clinics and workshops, you will hear incredible concerts by thirteen Invited Performing Choirs.

Take advantage of the opportunity to hear some of Texas’s outstanding choral organizations and gain an exposure to new literature. Seven of these groups are featured below, and the remaining groups will be featured in the January issue. Look to next month’s magazine for a complete convention schedule preview.

Andrews HS A Cappella Women’s Choir

experience for all.

We have the responsibility, as professionals and TMEA members, to serve our students and our Regions by being present and available at all auditions, clinics, concerts, and other activities in which our students participate.

We also have professional responsibili-

ties to our students. We must be careful not to have obvious favorites. Doing so can be detrimental to our programs and can have lasting effects on our students.

Strive to treat students equitably, particularly in the selection and election of officers and in any situation involving auditions for solos or small specialty groups.

ALL-STATE CHOIR CLINIC

Saturday, December 17, 2011 9:00 a.m. 3:00 p.m.

Sectionals and large choir rehearsals will be offered to aid students in preparing for the final All-State audition. Area finalists and alternates are welcome. Rehearsals will be led by Dr. John Silantien and Dr. Gary Mabry.

Pre-registration fee (postmarked by December 9) ................................$60 For further information and pre-registration materials, go to http://music.utsa.edu or contact: DR. JOHN SILANTIEN Department of Music, The University of Texas at San Antonio San Antonio, Texas 78249 (210) 458-5328 john.silantien@utsa.edu 34 Southwestern Musician | November 2011

Andrews HS A Cappella Women’s Choir Michael D. Matlock, Director Andrews HS is a 3A high school with an enrollment of 880 students in grades 9–12. Located at the center of the Permian Basin, with a population of approximately 11,000, Andrews is the fastest growing micropolitan area in Texas and second in the nation. Andrews HS is committed to being a well-rounded school supported by a high level of student participation in extracurricular activities. Because of the focus on academics and the strong extracurricular achievement, Andrews HS ranked in the top 10 of 184 schools in the 3A division of the UIL Lone Star Cup. The Andrews HS Choral Program has approximately 200 students participating in three different choirs—A Cappella (varsity mixed choir), Chorale (nonvarsity mixed choir), and BlackGold (show choir). The Andrews A Cappella Women’s Choir consists of 52 women from the A Cappella Mixed Choir. The AHS choirs consistently earn Sweepstakes awards at UIL Contest. Additionally, each year AHS qualifies 40 to 50 choral students for the Texas State Solo and Ensemble Contest. 2012 marks the first invitation for Andrews HS musicians to perform at the TMEA convention.

Michael D. Matlock has been teaching choral music for 18 years, the last nine at Andrews HS. The success of the AHS choirs is due largely to the assistance of Jody Keesee, AHS Assistant Director; Gary Ragland, AMS Director; and Ann Hogan, AHS Accompanist.

Charles M. Blalack MS Varsity Men’s Choir Brad Kerley, Director Charles M. Blalack MS is beginning its 26th year of high achievement in academics, fine arts, and athletics. It has been nationally recognized as a School of Excellence and given five-star ratings

by Texas Monthly and Just for the Kids magazines. Currently Blalack is a TEARecognized campus and an example of the standard of excellence in CarrolltonFarmers Branch ISD, a Recognized district. The fine arts programs at Blalack have enjoyed a long history of excellence.

Most students at Blalack participate in more than one fine arts elective. In 2010 and 2011 ten choir, band, and orchestra ensembles received Sweepstakes awards at UIL contest.

The Blalack MS choral department

has experienced many years of success and is considered one of the largest programs in the state with 440 students currently enrolled. One of eight performing ensembles at Blalack, the Varsity Men’s Choir under the direction of Brad Kerley, Kelly Dunn, and Ashley Delaney is one of two auditioned seventh- and eighthgrade men’s choirs at Blalack. The Varsity Men’s Choir has consistently earned Sweepstakes awards at UIL Concert and Sightreading Contest and has been named best-in-class and best-in-festival at choral festivals statewide. These choir members are well-rounded young men involved in fine arts, athletics, National Junior Honor Society, Boy Scouts, and various church and civic activities. The Varsity Men’s Choir performance will mark CarrolltonFarmers Branch middle school’s first appearance at a TMEA convention.

Canyon HS Chorale Women Brandon Farren, Director Canyon HS is a TEA-Recognized campus serving 1,200 students in grades 9–12. With a rich tradition of excellence in fine arts and other academics and in athletics, CHS is one of only two 4A campuses designated as Recognized in the western half of Texas.

The Canyon HS Chorale Women consists of 60 singers, grades 10–12, from the 90-voice mixed chorale. Chorale Women is one of five performing ensembles from the choral department, which boasts a total enrollment of 160 students. CHS choirs perform five concerts a year and are involved annually in the all-school musical. All Canyon HS choral ensembles share a rich tradition of excellence, consistently winning Sweepstakes awards at UIL Contest and best-in-class in

Charles M. Blalack MS Varsity Men’s Choir

Canyon HS Chorale Women Southwestern Musician | November 2011 35

numerous choral festivals. CHS is excited to return to the TMEA stage (the choir previously performed there in 2007).

Head Choir Director Brandon Farren is a product of Canyon ISD, graduating from Randall HS. He received his bachelor of music education from West Texas A&M University before beginning his teaching career in Amarillo ISD in 1997. Farren

36 Southwestern Musician | November 2011

student body of 22,970, 70% of whom represent minority groups. Based on the belief that what makes us different can make us strong, Pflugerville makes efforts to embrace diversity. This is what makes PISD and the PHS choir program like so many in the state—hard working students, commitment to excellence and the attainment of success.

The Pflugerville HS Varsity Women is a select ensemble of 67 students in grades 10–12 who meet as two separate choirs. The Pflugerville HS Varsity Women women combine one evening weekly to rehearse the music in their journey to the TMEA taught two years at Bowie MS and two convention. Many of the choir members years at Tascosa HS with Billy Talley. He are in AP and pre-AP classes as well as in has taught at Canyon HS for 10 years. other school activities. Leadership positions within school clubs, student counPflugerville HS cil, and the involvement of electives such Varsity Women as band, tennis, dance, speech, and debate Susan Neff, Director speak to the work ethic and dedication of Located between Austin and Round these young women.

Rock, Pflugerville ISD serves a diverse

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The choirs at PHS, including the Varsity Women, consistently receive Sweepstakes awards at UIL Concert and Sightreading Contest. Many of the choir members have been part of the All-State process, earning positions in the TMEA Region Choir and receiving superior ratings at UIL Solo and Ensemble Contest.

Directors of the PHS Choir are Susan Neff and Davina Hendrix. Neff, the lead director of this ensemble, is in her 30th year of teaching and her 14th year of inspiring the musicians of PHS. Allen HS Chorale Mixed Choir Brian McKinney, Director The Allen HS Chorale Mixed Choir is the premier performing choir from Allen, Texas. Over 350 students in eight choirs make up the AHS choral program, including students from the freshmen campus and the 10–12 AHS campus. This performance group is made up of 70 students who take pride in showing diversity, passion, and excellence in their singing and performances throughout the year.

The Chorale is proud and honored to be the first performing group from AISD to

be invited to the TMEA convention.

The choir is under the direction of Brian McKinney, who is in his seventh year at Allen HS. McKinney is a graduate of Texas Tech University and is a member of TMEA, TCDA, TMAA, and MOWT. Euless Trinity HS A Cappella Choir Michael Dean, Director Euless Trinity HS, home of the Trojans, is a 5A, 10–12 grade campus in the Hurst-Euless-Bedford ISD, located near the southwest corner of the Dallas/ Fort Worth airport. The A Cappella Choir, under the direction of Michael Dean and Jeremy Crozier, is an auditioned ensemble of juniors and seniors. Each year, performances include fall, winter, and spring concerts, as well as a spring festival trip and UIL Concert & Sightreading Contest.

The A Cappella Choir consistently earns Sweepstakes awards at UIL Contest and grand champion awards at multiple festivals across the country.

During Dean’s tenure, the A Cappella Choir performed at the Dallas Morton Meyerson Symphony hall with the King’s Singers, the Fort Worth Perry Bass Hall with Chanticleer, and at the TMEA con-

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vention in 2004. In the 2008–09 school year, the Mark of Excellence Choral Honors Project awarded the A Cappella Choir as its National Mixed Choir. Dean is in his 14th year at Trinity and his 22nd year of teaching in the Hurst-EulessBedford ISD. Artie Henry MS Varsity Treble Choir Michelle Hank, Director Artie Henry MS is part of the Leander ISD, northwest of Austin. Leander ISD has earned a reputation for developing some of the finest music programs in Texas and in the nation, and the choir program at Henry is no exception.

The choir program at Henry MS serves more than 400 students in six performing ensembles. Since the school opened in 2002, Henry choirs have been consistent UIL Sweepstakes award recipients, and they have been well represented at UIL Solo and Ensemble contest, as well as All-Region Choir. Under the direction of Michelle Hank and Amanda Ransom, the Henry MS choir program has seen constant growth, and choirs have earned numerous honors and awards at festivals across Texas.

To improve their individual skills and musicianship, all students in the HMS Varsity ensembles attend weekly section rehearsals, and many students take advantage of the opportunity for private lessons through the LISD private lesson program.

In addition to their involvement in choir activities, HMS Choir students are active in other activities, including National Junior Honor Society, student council, athletics, yearbook/journalism, art, cheerleading, dance team, and theater.

Important Dates November—Make your convention housing reservation online.

November 15—TMEA scholarship application deadline.

December 15—Deadline for submitting Dual Area Certification selection.

December 31—TMEA convention mail/ fax pre-registration deadline.

January 7—Area Band and Vocal auditions.

January 12, 2012—TMEA convention online pre-registration deadline.

February 8–11, 2012—TMEA Clinic/ Convention.

Allen HS Chorale Mixed Choir

Euless Trinity HS A Cappella Choir

Artie Henry MS Varsity Treble Choir Southwestern Musician | November 2011 39

Vienna Boys Choir Is Coming to Texas!

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hen you attend the 2012 TMEA President’s Concert featuring the Vienna Boys Choir, you will be experiencing an extraordinary musical tradition spanning over 500 years.

In 1498, Emperor Maximilian I moved his court and its musicians from Innsbruck to Vienna. He gave specific instructions that there were to be six boys among his musicians. For want of a foundation charter, historians have settled on 1498 as the official foundation date of the Vienna Hofmusikkapelle and—in consequence—the Vienna Boys Choir. Until 1918, the choir sang exclusively for the imperial court, at mass, at private concerts and functions, and on state occasions.

Musicians like Heinrich Isaac, Paul Hofhaimer, Heinrich Ignaz, Franz Biber, Johann Joseph Fux, Wolfgang Amadeus Mozart, Antonio Caldara, Antonio Salieri, and Anton Bruckner worked with the choir.

In 1918, after the breakdown of the Habsburg Empire, the Austrian government took over the court opera (the opera, its orchestra, and the adult singers), but not the choir boys. The Wiener Sängerknaben (Vienna Boys Choir) owe their survival to the initiative of Josef Schnitt, who became Dean of the Imperial Chapel in 1921. Schnitt established the boys choir as a private institution and the imperial uniform was replaced by the sailor suit, then the height of boys’ fashion. Funding was not enough to pay for the boys’ upkeep, and in 1926 the choir started to give concerts outside of the chapel, performing motets, secular works, and, at the boys’ request, children’s operas. Within a year, the choir performed in Berlin, Prague, and Zurich. In the next ten years, they toured Athens, Riga, Spain, France,

40 Southwestern Musician | November 2011

Denmark, Norway, Sweden, the United States, Australia, and South America.

Vienna Boys Choir Today There are approximately 100 choristers between the ages of ten and fourteen in four touring choirs. They present around 300 performances each year for almost half a million people around the world. Each group spends nine to eleven weeks of the school year on tour.

The choir maintains its own school. Almost 250 children study and rehearse in the Augartenpalais, a baroque palace and former imperial hunting lodge in Vienna. Beginning with kindergarten, boys and girls are provided with a complete musical and general education through the elementary grades. At age ten, the most talented boys are selected to join the choir, enter the choir’s grammar school, and are assigned to one of the touring choirs. Academic lessons are taught in small groups. The school also has a band and offers extracurricular activities including playing sports and attending pop concerts, operas, plays, musicals, and movies. The choristers are also encouraged to create their own projects; a number of them write, act, and direct short sketches or films.

The choir’s repertoire includes everything from medieval to contemporary and experimental music. Motets and lieder for boys’ choir form the core of the touring repertoire, as do the choir’s own arrangements of waltzes and polkas by Strauss.

Purchase $10 tickets for this incredible event when you preregister for the convention, or anytime on or before January 12 by returning to the pre-registration webpage.

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usic educators are constantly assessing their students and themselves, and our feedback is often harsher and more exact than any rubric or test score our students will ever see. Still, determining reliable methods for assessment can be challenging. We asked four music educators who teach elementary, middle, and high school to share their perspectives on individual student assessment. This is the third article in the â&#x20AC;&#x153;Music Mattersâ&#x20AC;? series on teaching methods. If you missed previous installments, you can find them online at www.tmea.org/magazine in the archives or by viewing the interactive version of previous issues.

Take time to read all of the responses, not just those offered by the educator in your TMEA division. You will find that many of the answers are applicable to all music educators regardless of teaching level or ensemble type.

How do you monitor individual student understanding in a classroom setting on a daily basis?

Rene Lira, Coyle MS Band Director (Garland ISD): We have found that the best way to monitor our studentsâ&#x20AC;&#x2122; understanding is by daily interaction with them. We try to have each student in beginning classes play individually every day (or on a weekly basis with larger classes). The key to this success is that students never know when they will be called, so hopefully they prepare daily. It is additionally important to give information in a variety of ways to accommodate the different learning styles. Constant questions and answers help to provide feedback to me. Do the students understand the lesson and the correlation to the musical performance? Plus, by constantly questioning the students, you will know if the message is coming across or if you need to continue to explain.

Janette Hess, Seabrook Intermediate Orchestra Director (Clear Creek ISD): Individual student understanding is monitored in a myriad of ways on a daily basis. It can be as simple as having students point to specific areas in their music, listening to indi-

vidual students play a passage, having students provide answers to questions regarding phrasing and dynamics, and much more. I use very specific rubrics for performance evaluations that provide immediate and precise feedback. For example, a bow hold rubric would include thumb shape, index finger pronation, middle and ring finger placement, and pinky placement and shape.

Kay Payton, Hendrickson HS Choir Director (Pflugerville ISD): In 12 years of teaching, this is my first in block scheduling, so I am still retooling my assessment practices. With block scheduling, it is imperative to know where students are in the learning process. I use a multilevel approach and ask a lot of questions.

I listen to students by using close proximity, sectional singing, and individual singing. I work to build relationships with each student personally and with the class as a whole. This helps them feel more comfortable singing in front of others. They are not tested every time they sing, and I make certain everyone knows that mistakes are expected and should be made loudly so they can be fixed!

Elizabeth Shier, Academy at C.F. Thomas Music Teacher (Birdville ISD): Individual student assessment is often an overwhelming concept for an elementary music teacher who teaches hundreds of students a day in often limited time frames. I encourage my students from the beginning to do their very best at all times using a four-point rubric that we discuss and define at the beginning of the year. Students self-assess quickly after every lesson before lining up to leave. Students self-assess their work and sometimes assess the work of the entire class. This often leads to great discussions. Students know they will be self-assessing after each lesson, and this often encourages more enthusiastic participation and better behavior. During a lesson, I frequently ask deeper level questions to check for understanding, and students often get to share their answers with a partner before reporting back to me. Checklists on a seating chart are also used for quick assessments. Depending on the learning objective, assessment can be in the form of a playing test as well.

Southwestern Musician | November 2011 43

What strategies do you use to assess student progress (formative) as compared to the strategies you use to assess an end product (summative)?

RL: The key for us is consistency and variety. We have weekly chair tests in both beginner band and upper-level bands. Rubrics are used to help students quantify their score. “Sounds about like an 85,” is a hard sell for students and parents. By structuring tests with number values on a variety of categories (posture, technique, etc.), students better understand their strengths and weaknesses.

Having individual assessments throughout the year helps us with an end-of-year evaluation, both individually and for the band program. We use an achievement chart that allows students to reach a variety of levels based on their acquired skills. Beginners, for example, have different rankings they can achieve by passing off certain lines and successfully demonstrating specific skills.

The rankings are military-based, so they can go from a private to master sergeant. Officer ranks are used at the seventh- and eighth-grade level.

JH: Assessing students formatively should be achieved in multiple ways. I use rubrics to give specific feedback for a limited number of skills or objectives. I regularly have students write in their music (dynamics, phrasing, etc.), and I grade their music based on whether they have correctly marked their music. I also have students record themselves playing an assigned passage and give them feedback and grades based on that recording.

Summative assessment usually involves the students critiquing a performance of their own or another group. At the middle school level, it should include at least a word bank of terms for them to use in their critique. I often lead them with a prompt to get them focused on what I want them to discuss or write about.

KP: I use sight-singing patterns each day. Then at the end of a two-week period, each singer draws from what they like to call the “pumpkin of death,” and they sing to me the exercise they drew. Other methods I use include written exercises in a journal, evaluations after each concert or performance opportunity, weekly 10-question theory quizzes, recording in-class work for informal evaluations, and as much one-on-one vowel and vocal training as possible.

ES: Upper-grade students write reflections in a journal, including a space to answer what they learned, how this will help them in the future, their strengths, and weaknesses. We do this type of assessment on an ongoing basis. I grade these reflections with another four-point rubric, which is why lots of discussion at the beginning of the year about the rubric and grades is helpful. We often record our work and then evaluate it according to criteria the students have discussed. We decide if it’s good enough to put on the website or not, and why. With summative (end product) assessment, I use rubrics that I have given to the students as the project is assigned, again with lots of discussion about the expectations.

Discuss how advancements in technology have changed how you assess student learning.

RL: Our goal is to integrate technology to enhance the overall musical and educational experience. We are able to send and receive playing assignments over the Internet, communicate to students via text message or email, and even have live webcasts of concerts and classes. We tend to overlook the fact that many of our students simply forget to listen when they are performing or 44 Southwestern Musician | November 2011

rehearsing. During class I record students using my smartphone.

With it connected to our sound system via Bluetooth technology, students can immediately hear their performance, assess, and work to improve. By archiving these recordings, we can hear our progress as we prepare for concerts. It is important to remember, however, that even with all of our technical advances, a sticky note with a handwritten “good job” still has the greatest impact.

JH: Advancements in technology have added more items in our toolbox of assessment options. Wonderful programs like SmartMusic have enabled me to allow students the freedom to choose how they are assessed. Some students prefer to take several attempts and select the one they want to submit for a grade.

Some prefer the one-shot approach. Spreadsheet and database programs have enabled me to track student progress more easily.

KP: Technology has changed student learning dramatically.

Students want to learn everything aurally, which means I have to have more visual opportunities for them to see what they are hearing. Finale has great exercises to be used for sight-singing (I even use some of the band exercises). I can have them work individually, in pairs or as a section, to see who can sing quickly and accurately. Using sight-singing books and the projected screen allows me to isolate something more difficult. I can show a YouTube example or something from NBC’s The Sing-Off for written evaluation.

Students can now record on Charms Office Assistant and email it to me, and I can grade it at home! I can make a CD of our progress. I use Finale to make voice part CDs or an accompaniment track for rehearsal purposes. I can show videos of TMEA All-State Choirs or honor choir performances to model excellence in singing. I can assign papers on composers from any genre that students can readily find biographical information for as well as digital performances of their works.

ES: Technology has made assessment easier at times. Free recording software like Audacity makes it simple to record any part of a lesson, then listen and evaluate the recording. Videos are great to use, too, and I often record the class and then we watch and assess the performance. Good recordings are then posted on our website, and I encourage students and parents to visit the website often. With SmartNotebook lessons and a SmartBoard, assessment can be built in. I plan to use Project Share this year to help me set up electronic portfolios of individual and class work as well.

Thanks go to our contributors for taking time to offer their ideas and experience. If you have follow-up questions, you can email them at the following addresses: Rene Lira (ralira@garlandisd.net) Janette Hess (jhess@ccisd.net) Kay Payton (kay.payton@pflugervilleisd.net) Elizabeth Shier (beth.macchiarolo@birdvilleschools.net) For specific examples of assessment methods and rubrics offered by these contributors, go to the Music Educator Toolkit found in the Teaching Resources section of the TMEA website under the Resources menu.

am sure that this time of year finds you quite busy with PTA/PTO programs in addition to working with your choirs and ensembles for the winter concerts. Forms are being passed out and collected for the upcoming performance trip, concerts, and activities.

In this harried time, it’s most important to stay organized so that you can take time for yourself. We are so busy with our careers, family, and events that we often forget about the most important people—ourselves!

Your students are probably still finishing off all their Halloween candy (unless their parents quickly relegated half of it to their freezers), and I’m sure they are excited about all the upcoming events.

November is the time of year when I’m excited to get to use my favorite folk song, “Turkey in the Straw,” which is included in Katy ISD’s adopted textbook, Spotlight on Music (for second grade) published

by Macmillan/McGraw-Hill. I don’t remember where I got the line dance moves, but they remain clear in my mind.

My second graders absolutely love it, and

I

we can usually get their teacher to join us.

Third graders eventually hear what the second graders are doing and ask to dance to the song, too. We occasionally sneak into the gym to have more room to move when the P.E. teachers have their students outside. I have posted the dance moves on our Elementary Music Teachers group on Project Share. (If you cannot access Project Share, email me a request for the dance moves at sallyhobizal@katyisd.org.)

November is also the perfect time for Lee Towell’s “Turkey Tango.” Our kindergarten teachers always ask if their students have performed the tango yet as they’re always excited to watch. Try pairing up the kindergartners and give each of the girls a plastic flower to wear—it’s too cute! One of my favorite songs to listen to is Appalachian Spring by Aaron Copland.

Yes, it is a song about spring, but I always think of the fall season any time I hear “Simple Gifts,” so I first introduce this song in the fall then again in the spring.

After the students have had several opportunities to listen to this piece, I show them a DVD by Blast of their on-stage

by Michele Hobizal

ElementaryNotes

It’s turkey time!

Music teachers bring joy and amazement to young lives every day.

Southwestern Musician | November 2011 45

marching show version of this piece—it’s incredible. ’Tis the gift to be simple, ’tis the gift to be free. I hope this wonderful season reminds you of how special you are as a music teacher, bringing joy and amazement each day to young lives.

2012 Clinic/Convention Update I hope you are well underway with making your plans to attend our 2012 convention in San Antonio, and that you have made your hotel reservation via the discounted hotel reservation system from

www.tmea.org/convention. There are so many amazing opportunities throughout these four days. The following are what I think of as the top 10 reasons why you should be at the 2012 TMEA Clinic/ Convention in San Antonio: 1. New songs and dances 2. Assessment strategies and materials 3. Instrumental and rhythmic activities 4. Music products (and so much more!) at the lowest prices 5. Concerts that will inspire you for many months to come 6. Technology ideas and instruction

te! a D e h t 12 1 0 e v 2 –1 Sa EA 8 TM ary ru b e F

46 Southwestern Musician | November 2011

7. Idea sharing with teachers from across the state and nation 8. Kodály and Orff methods 9. Literature and listening activities to amaze any student 10. Great times connecting with colleagues in San Antonio I could go on with even more about the wonderful clinicians who will offer you an assortment of Kodály, Orff, Dalcroze,

choral techniques, play parties, listening activities, instrument techniques, interactive whiteboard activities, and much more! In addition to our incredible clinics will be performances sure to inspire.

Below are some of our invited groups, and we will feature the remainder in the January issue. Next month’s issue will include an entire convention schedule preview, so get ready to start planning your exciting convention schedule!

Leon Heights Honor Choir Debra Johnson, Director The Honor Choir from Leon Heights Elementary School in Belton ISD is an auditioned choir made up of 40 fourthand fifth-grade students who show an interest in and commitment to music, sing well in tune, and maintain passing grades and good citizenship traits. Leon Heights Elementary is a small Title I school with two classes at each grade level.

Nearly half of all fourth and fifth graders sing in the choir. Leon Heights has been designated an Exemplary school for the last three years. The choir rehearses once a week and has classes with local

Leon Heights Honor Choir

Lewisville Fifth Grade Honor Choir clinicians before major performances. All students are fortunate to receive music classes four days per week. The Honor Choir, founded in 2003, has performed at the East Texas Children’s Choral Festival, Sandy Lake, and NRH2O. In 2008 the choir performed John Rutter’s Mass of the Children with Temple College. The choir has been invited to sing for the Belton ISD Teacher of the Year luncheon and the Belton ISD employee banquet. The Honor Choir tours each December and May performing for local assisted living facilities and Thursday Club, an outreach for Alzheimer’s patients.

Lewisville Fifth Grade Honor Choir Julie Scott, Director The Lewisville Fifth Grade Honor Choir was formed in 1998. The choir is designed to give the most advanced elementary music students opportunities to sing in an outstanding choral ensemble, to develop their vocal and musical skills so they will become leaders in LISD music programs, and to work with other committed students toward the goal of musical excellence. The choir serves as a showcase choral group for LISD, performing

Jenkins Orff Ensemble two concerts annually, as well as making guest appearances at district events.

Membership in this organization is by audition. At the final audition, each student sings for a panel of three judges, who rate each student’s performance on various musical criteria. Those students with the highest composite scores on the final audition are selected for membership in the choir, which consists of approximately 115 fifth graders.

The choir is under the direction of

Julie Scott, who teaches in the music education department at Southern Methodist University. The choir is accompanied

by Jesse Fry and assisted by outstanding LISD elementary music specialists Sheri Marshall and Debra Spiegel.

Jenkins Orff Ensemble Dorothy Patel, Director The Jenkins Orff Ensemble, under the direction of Dorothy Patel, is made up of fourth- and fifth-grade students from Southwestern Musician | November 2011 47

Project Share—TMEA Elementary Music Teachers Group Have you requested to join our Project Share group? Come join us! Go to www.tmea.org/project-share, and follow the directions to join. If you have difficulties, email Michele Hobizal at sallyhobizal@katyisd.org.

Schultz Shining Star Drum Ensemble

Jenkins Elementary School in Spring ISD. Any fourth or fifth grader who loves making music and is willing to make the commitment is eligible for membership in the group. The ensemble, now in its 11th year, rehearses weekly during regularly scheduled music class as well as after school. The Jenkins Orff Ensemble performs regularly around the district and is a frequent award winner at the annual Children’s Music Festival of Houston.

This will be the group’s first appearance at the TMEA convention.

Schultz Shining Star Drum Ensemble Carolyn Mena, Director Schultz Elementary in Klein ISD has been recognized as an Exemplary school for many years. The principals have always shown great support for the music department and encourage all students to excel. At Schultz, extracurricular music activities include the Drum Ensemble, Orffestra, Choir, and a fifth-grade strings program.

48 Southwestern Musician | November 2011

The Schultz Shining Star Drum Ensemble is a fourth- and fifth-grade auditioned group that performs in the school and the community. Carolyn Mena and Jane Lamb began the Drum Ensemble in 2006 as a part of the Schultz Shining Star Orffestra. In the spring of 2008 they performed with the Schultz Shining Star Orffestra at TMEA. At festival 2008, the Drum Ensemble had the opportunity to perform as an independent instrumental ensemble. In May of 2011, they performed at a spring concert with Lamar Burkhalter’s percussion ensemble, Percussion One. The Schultz Shining Star Drum Ensemble is honored to be invited to perform at the TMEA convention in 2012.

Carolyn Mena holds a bachelor of science in education with a music specialization from Baylor University, where she graduated Summa Cum Laude. Mena has completed the first level of Orff training and has a passion for spreading joy and knowledge through music.

Region Workshops November 5—Region V Choral, Region V Elementary, and Region VII Elementary present Tim Seelig in The Perfect Choral Workshop (helpful pointers for elementary and secondary choirs) from 9 A.M. to 4 P.M. in room 301A at the Arlington ISD Professional Development Center (on Arbrook Dr. east of S. Cooper).

The workshop is free for TMEA members and college students and $10 for nonmembers. Contact Thomas Rinn, trinn@ aisd.net, Susan Malone, smalone1@aisd .net, or Jim Ekrut, james.ekrut@fwisd.org.

January 14—Region 1 presents Phyllis Thomas and Debbie Anderson in Technology in the Music Classroom from 8:30 A.M. to 3:45 P.M. at South Georgia Elementary in Amarillo (5018 Susan). Cost (includes lunch) is $25 for TMEA members, $15 for college students, and $30 for non-members if paid before December 21 or $35 if paid after December 21. Contact Christy Corder, christy.corder@amaisd.org.

January 21—Region 9 presents Michele Hobizal in I Can SMART Board—Can U? from 9 A.M. to noon at Sally K. Ride Elementary School in The Woodlands (4920 West Panther Creek).

Cost is $10 for TMEA members and $15 for non-members. Contact Dawn Dennee, ddenne@conroeisd.net.

Important Dates November—Make your convention housing reservation online.

November 15—TMEA scholarship application deadline.

December 31—TMEA convention mail/ fax pre-registration deadline.

January 12, 2012—TMEA convention online pre-registration deadline.

February 8–11, 2012—TMEA Clinic/ Convention in San Antonio.

The University of Texas at Austin College of Fine Arts

Texas strings The world is listening.

Daniel Ching, violin Eugene Gratovich, violin Brian Lewis, violin Sandy Yamamoto, violin William Fedkenheuer, violin Logn Largess, viola Roger Myers, viola Joshua Gindele, cello Bion Tsang, cello DaXun Zhang, double bass Delaine Fedson, harp Adam Holzman, guitar music.utexas.edu

MUSIC ADVOCACY by:

John Benham

I

have observed a variety of parent support groups for music throughout my consulting career and have noticed eight common mistakes made by well-meaning music advocates.

While these strategic errors or misconceptions greatly limit the potential beneficial role of booster organizations, they can be corrected. All it takes is a commitment to reach out to others interested in our cause, some time to learn about the issues in your district, and a goal-oriented approach—in other words, all the elements of constructive, proactive music advocacy!

Strategic Error #1: Limiting Your Support Organization to a Single Local School, or a Single Curricular Component, or Even a Single Year The typical music advocacy coalition tends to be limited to parents of students currently involved in one school’s music programming, for example, Smithtown High School Band Booster’s Club. Parents in a group such as this tend to concentrate on the needs in a single school or aspect of the music curriculum while losing sight of district-wide issues that may have negative effects on their children as they progress through the system. For example, what happens when your child, who loves to play clarinet in fourth grade, cannot continue making music in high school, because block scheduling has been adopted in a way that makes it impossible for her to continue taking band?

This shortsighted focus can create a lack of unified support for district-wide music programs and make members competitive and divisive, while losing sight of equal access for all students.

Once infighting begins, your goals can become muddied and music becomes an easier target for elimination.

Unfortunately, music teachers often prefer the single site format because it seems easier and more convenient in the short term. Teachers who think this way may be operating out of fear and may want to discourage parents from interfering or micromanaging the whole program.

Solution: Invite parents in other schools to join with you to create a district-wide music coalition. Make sure you focus attention on all areas and levels of the music curriculum. Join your efforts with your music teachers’ and others’ in the community.

50 Southwestern Musician | November 2011

WITH PRECISE PLANNING, YOU CAN AVOID COMMON STRATEGIC ERRORS IN MUSIC ADVOCACY.

Plan a few years into the future, creating a system of support for music education that will last long after your own children graduate. Start the ball rolling toward creating a comprehensive vision for music education in your district. Remember: you can’t strategize if you don’t have a plan!

Strategic Error #2: Limiting Your Support Organization to Fundraising Activities Music booster organizations are a favorite of school administrations and boards. They can be very effective at fundraising, raising additional “tax support” for the district. Unfortunately, overemphasis on fundraising (to the exclusion of other objectives) has three major disadvantages.

1. It weakens music programs as curricular entities, philosophically placing music in the same category as extracurricular activities, like athletics.

2. It provides motivation to the administration and school board to reduce the music budget accordingly.

3. It burns out parents. I have actually observed several districts in which parents were told they could continue the music program—but only if they raised all the money for it, including funding the teaching positions. In at least one program, the music teacher even suggested this idea! (His spouse was employed by the music boosters at a salary of $40,000 per year.)

Solution: As a first step, coalition members need to know why they’re raising funds. Education about music program policy issues and budgetary concerns should be a focus of your efforts.

To preserve your integrity as a curricular and cocurricular entity, you should limit your fundraising to extracurricular components of the music program.

Strategic Error #3: Limiting Your Advocacy Activities to Music Teachers or Control by Music Teachers Music teachers often prefer to handle advocacy efforts themselves. This may be because they sometimes see needing parent support as a sign of personal weakness. Teachers may also fear

reprisals if they anger the administration and board. In some cases, teachers have even been ordered not to involve the parents, or told their program wouldn’t be cut if they cooperated with the administration. If advocacy is limited to teachers, the administration can simply order the teachers to be quiet, or be faced with job loss due to insubordination.

Solution: By law, local, state, and federal public education departments give the public the right and responsibility for educational advocacy. The legal voice of the school board is the most visible expression of this responsibility. Music advocacy, especially in times of impending cuts, must have broad community support to be most successful. Make sure parents, teachers, administrators, school board members, and, yes, even students are involved in your community’s music advocacy efforts.

Strategic Error #4: Limiting Your Advocacy Efforts to Reactive Strategies Limiting advocacy to reactive strategies may give the music coalition a public reputation as an adversarial voice of conflict.

People with conflict avoidance personalities may steer clear of participation in music advocacy because of that. Being reactive, rather than proactive, means you’ll always feel—and be—behind the eight ball.

Solution: Make sure your coalition stays on message and presents any issues in a non-confrontational, proactive way. Proactive strategies can help create and solidify a positive reputation for your organization, one that’s collaborative, supportive, and cooperative. But, in order to be proactive, you’ve got to educate and inform coalition members about issues, potential threats to music program funding, staff changes, and other policy and decisionmaking concerns before music program cuts are on the table.

Attend meetings, ask questions, learn to speak the language of the school board and administration, and keep your focus on building and maintaining a positive relationship.

Once you’ve developed a positive reputation, it’s more difficult for a district to make cuts in music because they’ll want to avoid offending your group. Your music coalition is simply a parent-community-teacher organization in support of music. Administrators are very aware of the need to maintain an ongoing, positive relationship with music coalitions.

Remember: your music coalition is vital to them. Once a positive relationship is forged, your coalition may even be able to offer much-needed support for other proposals under district consideration.

Strategic Error #5: Procrastination Procrastination is another form of reactive advocacy.

Uninformed music advocates leave themselves no choice but to make their (often flimsy and definitely reactive) case in a moment of crisis, for instance, when they learn—too late—of a potential cut or change in music programming.

Solution: Get involved before your music programs are in crisis! Monitor information on a continual basis. Once again, it’s important to attend school board meetings, get to know the decision-makers, and organize your coalition. But, more than that, your coalition’s case for justifying music in the curriculum must always be ready, at least in the form of annual reports on the status of the music program.

In the presence of financial crisis or educational reform, you

must act immediately to make sure that students who want to participate in music are not negatively affected by any potential cut or change. Do not wait until after the referendum vote or final proposal for cuts or change to make your case. It may be too late!

Strategic Error #6: Suggesting Alternate Cuts or Compromise No one from the music coalition or teaching staff should ever make any suggestion for alternate cuts or compromise. If you do, they will be immediately accepted, and then you become responsible for them! Worse, those cuts very likely will just be added to the list of other cuts proposed. And never suggest cuts in another area of the curriculum. Leave all those decisions up to the administration and board. You are not responsible to provide them with the solution, only advocating for the music program.

Solution: You must learn to develop impact statements that demonstrate the anticipated short- and long-term results. In other words, “if the district takes the (specified) action, the following will happen to the music program.”

Strategic Error #7: Becoming Involved in a Battle of Music Versus Athletics Flag on the field—this is a huge mistake! It identifies you with those who philosophically characterize the music program as extracurricular.

Solution: Politely, but firmly, refuse to engage in this type of exchange. Keep your focus on music as curricular and cocurricular (vs. extracurricular), and on the importance of music within the school curriculum. Resist the temptation to compare and contrast what really amounts to comparing apples and oranges. Some like music, others prefer sports, but both have high value to students. Further, many music students will also participate in athletics.

Strategic Error #8: Resorting to Personal Attacks Personal attacks are a desperate strategy of last resort and a glaring sign of weakness in your case. Worse, such tactics tend to establish revenge cycles that place the music curriculum on an annual cycle for continued attacks.

Solution: Make a commitment to not use name-calling, threats, or calls for resignations in your interactions with school board members, teachers, or school administrators, even in response to those who may attack you. Instead, take the high road and keep your focus on the issues at hand and the needs of the students.

If you see that music programs are in danger of being reduced or eliminated, study the issues, offer your help in problem-solving discussions, and present reasonable, student-centered solutions and suggestions.

John Benham is an author and national music education advocate whose area of expertise is saving and restoring music programs in the face of budget cuts. Benham will be a College Division Featured Clinician at the 2012 TMEA Clinic/ Convention.

This article is reprinted from: Benham, John L. Music Advocacy: Moving From Survival to Vision. Lanham: Rowman & Littlefield Education, 2011. Reprinted by permission of the author.

Southwestern Musician | November 2011 51

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here is a concept associated with sociology referred to as “Normalcy Bias” or “Normality Bias” that suggests there is a particular mental state of denial when people are confronted with a crisis or disaster. Reportedly, there is a predilection for individuals to underestimate the possibility of a disaster occurring and the severity of its possible consequences.

In essence, people are predisposed to believe that since a particular disaster has never occurred, it will never occur; or, if it occurs, it will not be as bad as it possibly can be. Without regard to one’s perspective toward normalcy bias, recent history has demonstrated that we in education are facing a hurtling train of crises over the remainder of the biennium as a result of the effects of the health and direction of the economy.

Despite the undeniable economic crisis of our time, perhaps a greater crisis is the potential of becoming destitute relics of utter irrelevancy as a result of our complacency. “Well, maybe in some other states,

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but not in Texas,” one may counter, or “As long as there is high school football, there will always be music education in the schools,” or “Our standards of excellence in performance assure our place in the schools.” A sobering response to this ideology materializes as we consider the number of teachers who just a few short months ago were required to take that long, lonely walk down the hallway and away from schools and children they loved. What is certain? Of these things we can remain absolutely certain: all circumstances can change and there is always the possibility of a crisis looming in our future.

The etymology of the word crisis is from the Greek krisis, which literally means “decision.” Each crisis we face provides a unique opportunity to choose wisely or foolishly. Whoever and whatever we are as a profession is essentially determined by what we do with the opportunities we are presented. Our decisions made during crises largely determine whether these moments become

We humans can tolerate suffering, but we cannot tolerate meaninglessness. —Desmond Tutu Southwestern Musician | November 2011 55

disasters or emerge into triumphs.

It may be popular politically for some to promote the rethinking of education in terms of emphasizing science, technology, engineering, and math, but that is, of course, at best an incomplete concept of the future of education in America.

It is also something that we as a profession need to be actively countering. It is important to recognize that while there is strong support for, and concomitantly an investment in, technology in schools, the integration of technology has not significantly revolutionized the educational

experience for students. Technology has made some aspects of instruction more efficient, more cost-effective and certainly flashier, but that is not the complete story.

While MIT provides free online access to virtually all of its instructional materials and lectures and iTunes U provides access to download lectures from such institutions as Yale and Stanford, this has not introduced an age of enlightenment or an enhancement of the human condition, let alone an improved educational enterprise. Lectures and materi-

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als alone do not provide an education. If this were true, then free education for all through technology would make sense. It doesnâ&#x20AC;&#x2122;t. The vital and vibrant interactions that take place between the teacher, the learner, and the content are the essence of an education. Learning is a verb, and as such, it should never be neutral or passive. Lectures alone as modality of instruction are rather limiting in terms of human engagement; and it is human engagement that underpins all learning.

When most of us reflect on important things we have learned, we cannot totally divorce the learning from the teacher, and this reality should not be ignored, minimized, or forgotten. What should happen in the classroom should allow the student to contribute to and interact with, not merely receive, instruction. So, a free online lecture, while providing increased access to a wider audience, in and of itself may well be worth exactly what they are charging for it.

If education is going to be reformed in any genuine sense, the fine arts must not just be included with the curriculum; they must be central to and integrated with the very essence of the entirety of the curriculum. This is because education is essential in the process of creating productive, well-adjusted, contributing citizens who can think and act by themselves in ethical and moral ways. This is where the fine arts can and do make substantial contributions. The future of fine arts education is not merely about sustaining a profession, but rather about advancing our civilization. This is a truth that pervades not only the Kâ&#x20AC;&#x201C;12 classroom experience, but obviously higher education and certification programs in particular.

Education must be about more than developing specific skill sets among passive learners preparing themselves for the present-day materialistic goals that upon graduation will be their past. Each of us understands the world in all the ways that we experience it and that includes the artistic. Most of what we think of as being really important to us is evidenced in the arts. Moreover, we know from our experience and countless testimonials across the fabric of time that the arts are the flint that sparks the imagination and that creativity is simply applied imagination. It is creativity, the ability to think in ways that have positive value, which is the single greatest commodity any country can

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have, and this is what American education should be about.

It is curious that even among we pragmatic Americans, it is an often overlooked reality that economic development is thoroughly and completely enfolded by culture—not the contrary. This implies that we in the profession need to engage in the struggle to affect change in the public consciousness of values at every level. This includes clearly indicating that not everything that is important can be addressed by standardized tests and that the arts

meaningfully intersect life at every level.

We should not, however, accept a premise that suggests that what is ailing in education can be addressed by lowering standards in a gradual yet inevitable and stupefying slump toward mediocrity.

Arts educators should be leading the way to ensure the standards that discriminate between being educated and uneducated feature music and the other fine arts and that those standards are substantive. Standards alone, however, are not the issue and do not provide an obvious panacea. While

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our educational standards can and should always be subject to revision and improvement, we should admit that if all of the objectives enveloped within the current standards were being achieved in any realistic way, education would be making incredible strides in achievement and effectiveness. I do not believe that this situation exists. Eliminating accountability or abandoning real standards is no more responsible than is narrowly defining what achievement means. It is also antithetical to excellence in the arts.

Moreover, we need to be willing to admit that we are using an educational model that has been largely unaltered for centuries. We also need to be willing to rethink many of our underlying assumptions, including such traditions as the length of the school day and school year and the isolationist, territorial nature of the disciplines represented in course offerings. It is also time to help decisionmakers understand that the time for the artificial bifurcation of the curriculum into the “required” and the “foundation” has passed. This is a distinction with no meaningful difference, and we should exercise serious effort to erase this division in law, rule, practice, and the common consciousness.

We must demonstrate that music education is essential and relevant for an ailing spirit, an ailing economy, and an ailing country. Surely the good we do in the classroom does not simply escape as a vapor into nothingness. The consequences of our actions, both rewards and punishments, resonate beyond the walls of the classroom through the generations of students who have been influenced by us. This is the greatest opportunity we are facing and we need to decide wisely how we will face our futures.

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