October 2016 Southwestern Musician

OCTOBER O CTOBER 2016

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I S S U E

contents

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features

V O L U M E

columns

A Continued Commitment to Excellence . . . . . . . . . 17 In this 2015–2016 annual report of our association, learn more about how TMEA continues to grow in membership and strengthen its services and dedication to music education for all students.

BY ANDY SE ALY

Extreme Teaching: Part Two. . . . . . . . . . . . . . . . . . . . 28 In this second of a two-part series, we offer conclusions and strategies provided by TMEA members during this past June’s Urban Music Summer Dialogue on goals, motivation, and parent and administrator support.

BY KAREN CROSS

Do We Use Music to Create Exceptional Students? . . 41

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In our profession, we are often driven by the competitive process. It’s important to consider how we use those opportunities positively to help develop our students’ lifelong love of and passion for music.

BY PAUL WOROSELLO

Middle School Classroom Management That Works . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

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

by Dinah Menger

Establishing, practicing, and maintaining consistent procedures can help you spend your time on music—the real reason you’re teaching and why students are in your class.

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

by Robert Floyd

BY JODI COKE

Band Notes ............................................................23

Musical Conversations: Creating Mindful Advocacy Strategies . . . . . . . . . . . . . . . . . . . . . . . . . . 59

by Joe Muñoz

by Penny Meitz

Elementary eductors must educate administrators about how quality music education is much more than performances and supporting other subject areas. Learn how you can start.

Vocal Notes ...........................................................44

BY MÍCHE ÁL HOUL AHAN AND PHILIP TACK A

Orchestra Notes ..............................................35

by Robert Horton

Elementary Notes ..........................................55 College Notes .....................................................64

by Si Millican

On the cover: Diego Garza-Romero, a sophomore at Economedes HS (Edinburg CISD), warms up before a rehearsal with the 2016 All-State 5A Symphonic Band. Photo by Karen Cross.

updates

by Juli Salzman Apply for a TMEA Scholarship ................................................................. 2 2017 TMEA Clinic/Convention ................................................................ 4 2017 TMEA President’s Concert: The Real Group ..............................49 College Division Call for Papers ............................................................66

Southwestern Musician | October 2016

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

Managing Editor: Karen Cross

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

TMEA Executive Board President: Dinah Menger d.menger@sbcglobal.net 1305 Westcrest Drive, Arlington, 76013 817-891-1095 – Fort Worth ISD

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

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

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

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

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

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

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

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

70($ 2IÀFH Mailing Address: P.O. Box 140465, Austin, 78714-0465 Physical Address: 7900 Centre Park Drive, Austin, 78754 Phone: 512-452-0710 | Toll-Free: 888-318-TMEA | Fax: 512-451-9213 Website: www.tmea.org 2IÀFH +RXUV Monday–Friday, 8:30 A.M.–4:30 P.M.

TMEA Offers Undergraduate and Graduate Scholarships To be eligible, complete all application requirements by November 15.

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

TMEA offers undergraduate scholarships for applicants who enroll in a music degree program at a Texas college or university leading to teacher certification. Encourage your best and brightest seniors to apply and submit all supporting materials by November 15.

Graduating Senior Scholarships • Bill Cormack Scholarship: $3,000/year for up to five years • Past-Presidents Memorial Scholarship: $2,500/year for up to five years • Past-Presidents Scholarship: $2,500/year for up to five years • Executive Board Scholarship: $2,500/year for up to five years • One-year scholarships: $2,500 for one year only

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) are $2,500.

One-Year Undergraduate Scholarships • TMEA awards one-year, $2,500 scholarships to current undergraduate students enrolled in a music degree program at a Texas college or university leading to teacher certification.

One-Semester Student-Teacher Scholarships • TMEA awards one-semester, $2,500 scholarships to college student members scheduled to student-teach within the two semesters following the application.

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

TMEA supports its members who have at least three years of classroom experience and are committed to expanding their knowledge and skills through graduate study in music by offering scholarships of $1,250 to $2,500.

One-Year Graduate Study Scholarships • Awarded to graduate students for one year only and range from $1,250 to $2,500.

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.

6XEVFULSWLRQ UDWHV 2QH <HDU ² 6LQJOH FRSLHV 3HULRGLFDO SRVWDJH SDLG DW $XVWLQ 7; DQG DGGLWLRQDO PDLOLQJ RIĂ&#x20AC;FHV 32670$67(5 6HQG DGGUHVV FKDQJHV WR 6RXWKZHVWHUQ 0XVLFLDQ 3 2 %R[ Austin, TX 78714-0465. Southwestern Musician was founded in 1915 by A.L. Harper. Renamed in 1934 and published by Dr. Clyde Jay Garrett. Published 1941â&#x20AC;&#x201C;47 by Dr. Stella Owsley. Incorporated in 1948 as National by Harlan-Bell Publishers, Inc. Published 1947â&#x20AC;&#x201C;54 by Dr. H. Grady Harlan. Purchased in 1954 by D.O. Wiley. Texas Music Educator was founded in 1936 by Richard J. Dunn and given to the Texas Music (GXFDWRUV $VVRFLDWLRQ ZKRVH RIĂ&#x20AC;FLDO SXEOLFDWLRQ LW KDV EHHQ VLQFH ,Q WKH WZR PDJD]LQHV ZHUH PHUJHG XVLQJ WKH QDPH 6RXWKZHVWHUQ 0XVLFLDQ FRPELQHG ZLWK WKH 7H[DV 0XVLF (GXFDWRU XQGHU WKH 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 | October 2016

The University of Texas at El Paso Department of

Scholarship Auditions:

February 18 and 20, 2017 Offering degrees in: Music Education

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Steve Wilson, D.M.A. Chair, Department of Music

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TMEA CLINIC/CONVENTION February 8–11, 2017 • San Antonio • Henry B. Gonzalez Convention Center

www.tmea.org/convention LEARN

No other convention can offer you this level of continued learning!

MAKE PLANS NOW TO BE THERE

Important Dates Member housing opens at 6 A.M. CT.

December 31 Mail/fax convention registration deadline.

January 19

GROW

October 4

Early registration deadline.

NETWORK

February 8–11 The nation’s best music educators convention!

Hotel Reservations tmea.org/housing

—Heather Zambrano (12-year attendee) Charles Patterson MS, Killeen ISD 4

Southwestern Musician | October 2016

ENERGIZE

“For the professional development you get at such a low cost, there is no comparison! It’s a great way to network, learn new things, and get those CPE hours!”

IMPROVE

At 6 A.M. CT, October 4, the discounted housing reservation system for TMEA members is available. TMEA negotiates the lowest rates possible for TMEA members, so don’t wait to make your reservation. Some hotels sell out in hours!

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PRESIDENT’S NOTES

B Y

D I N A H

M E N G E R

A look back as T-TESS moves forward

T

he article writing schedule for SOUTHWESTERN MUSICIAN is about two months ahead of the publishing schedule, meaning that you are (hopefully) reading in October what I am writing at the beginning of a new school year. With this in mind, along with the looming system labeled T-TESS, the four T-TESS domains and the T-TESS post-conference template are guiding my thoughts here. Some of our Vice-Presidents have also been covering this important topic in recent issues, so be sure you keep current with your Division’s monthly column.

With almost two months of teaching in the books thus far, reflection is an excellent place to begin the process of recalibrating our game plan. We can starting by evaluating: • our goals accomplished thus far, • our future goals based on the reality of now, • the status of relationships with our students, our colleagues, and our administration, • the quality of our music-making and ensemble strength, and • the level of rigor we are expecting from our students.

Taking time to pause and look with clarity at your year thus far can give you a better plan for how to move forward through the rest of your teaching term—by semester, year, and even longer. Ask your students for an honest assessment of the year to date. Are your students engaged in learning?

Are you addressing the needs of the varied learning styles in your classes

Life can only be understood backwards; but it must be lived forwards.—Søren Kierkegaard 6

Southwestern Musician | October 2016

October—Renew your TMEA membership online and preregister for the convention.

October 4, 6 a.m. CT—TMEA convention online housing system opens for members.

November 15—TMEA scholarship online application deadline.

December 31—TMEA mail/fax convention preregistration deadline.

January 19—TMEA online early registration deadline.

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

and ensembles? Do you have more allies or enemies on your campus? Does your administration consider your program to be of merit? Are you pleased with the musical input and output of your students and ensembles? Are your music education students advancing in confidence and skill? If not, why not? At this time of the school year, a mental makeover will serve you well in the months ahead.

The next part of the process is to reinforce what is going well. You will know once you have honestly responded to the bullet points above. Write down what is working and why. Ask your students what they have learned, what they have enjoyed, and what their expectations are for the year.

The final step is refinement. As you lay out your road map for success, what points will you choose to strengthen? Be specific in the steps to improve. Be open to suggestions; “steal like an artist” from those doing well in the areas you have chosen to refine.

You have now put yourself through your very own T-TESS post-conference!

Since the state adoption of this evaluation system is now complete and many of you have been trained in this system, the quandary is its application and outcome in the fine arts classroom. This is most certainly causing concern for many music educators. Fear of the unknown is some of the concern, the rest seems to be the same as we always faced with PDAS evaluations. How can a non-musically educated administrator fairly observe and evaluate a music teacher with any credibility? That question has not changed. The aspect of T-TESS that appeals to me is the requirement of explicit examples showcasing mastery of the four domains used to help determine a teacher’s T-TESS ranking.

Along with technology use during your lesson and creating opportunities for your students to use HOTS (Higher Order Thinking Skills), here are some ideas to help in your delivery of the four domains and dimensions: Planning Dimension 1.1: Standards and Alignment: This should align with TEKS and be clearly and logically sequenced.

During your observation, clearly show how you are building on students’ prior knowledge. Include diverse learners (which we do). Give students time to

reflect and contribute to the lesson. Be careful not to focus on the same students all the time but to give many students the opportunity to contribute. Insert the lesson being observed into a broader unit or objective.

Dimension 1.2: Data and Assessment: You already do this, but unless you now state the obvious, it won’t be. This particular dimension suggests “substantive, specific and timely feedback to students, families, and school personnel on the growth of students in relation to classroom and campus goals and engages with colleagues to adapt school-wide instructional strategies and goals to meet student needs while maintaining confidentiality.” By doing this on a regular basis you are not only meeting the expectations of Dimension 1.2, but you are also pre-educating your evaluator and implanting “view cues” to watch for. This is exactly how you would prepare your students for a new concept.

Non-musically trained evaluators are, in essence, new music students.

Dimension 1.3: Knowledge of Students: Music teachers know their students because they have taught them multiple years! This is an advantage over some classroom teachers who have a changing of the guard every year or every semester. This dimension also cements what we know to be true—relationships build better students. Work to know your students’ names, learning styles, personalities, strengths, and weaknesses. Use this knowledge to highlight the points on the dimension 1.3 rubric.

Dimension 1.4: Activities: You do this every day in every way. You are ahead of the game here. However, clearly state what you assume evaluators to know. Be specific in what you are doing and why you are doing it (for your students and for your observer).

Instruction Dimension 2.1: Achieving Expectations: State and expect high standards and present your students with challenges. Lead them in mastery of the stated skill but do not do for them what you can help them do for themselves. Celebrate student mistakes and help them know that, in mistakes, comes great learning. What can you add to help students monitor their own progress?

Dimension 2.2: Content Knowledge and Expertise: You are pedagogically

sound. That is why you are in the music classroom. Keep your skills sharp; be able to articulate and demonstrate excellent pedagogy. (A “flag” for this dimension is comparison to other content areas or other life experiences.) As you prepare your lesson, anticipate steps that may be problematic to your students and be ready to adjust your strategies. Continually link learned skills together in logical sequences to showcase the larger goal.

Dimension 2.3: Communication: Provide an environment that allows open communication between teacher and student and student to student. Ask questions and allow for wait time. Validate student contributions, both musically and verbally.

Dimension 2.4: Differentiation: The “look fors” in this dimension are: providing individual lessons, monitoring participation and performance, providing differentiated content and methods, and recognizing confusion and disengagement. Be ready, as you already are, to adapt lessons to help all students achieve mastery. Be in tune with your students to quickly assist and correct understanding.

Dimension 2.5: Monitor and Adjust: As a music educator, you formally and informally collect, analyze, and utilize student progress data (their music-making) to adjust lessons. This is nothing new, but be ready to articulate this to your observer.

Learning Environment Dimension 3.1: Classroom Environment, Routines, and Procedures: It takes no talent to provide a clean and organized space for your musicians with clear, set procedures and routines. Start from day one. Make sure that all supplies and technology are ready for your observation (and every day!).

Dimension 3.2: Managing Student Behavior: Have expectations clearly posted from day one. Don’t wait to do this just for your observation. Drill your students on these expectations. Better yet, have your students create a social contract (thank you, Linda Richter) and practice all points of the contract every day.

Dimension 3.3: Classroom Culture: The “look fors” describe a typical music class every day! Relevant and meaningful learning, positive rapport, student engagement, and mutual respect. Be able to tell your observer how you create a classroom Southwestern Musician | October 2016

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culture. Better yet, have your students be able to describe your classroom culture to your observer.

Professional Practice and Responsibilities Dimension 4.1: Professional Demeanor and Ethics: Our TMEA Code of Ethics says it all. If you haven’t read it recently go to www.tmea.org/code for a refresher.

Dimension 4.2: Goal Setting: “The teacher reflects on his/her practice.” As mentioned in the introduction to this column, reflecting on our accomplishments

and challenges will help us establish meaningful goals for our future. Involve students in this reflection to ensure a genuine review and to give them ownership in their learning.

Dimension 4.3: Professional Development: Join professional organizations—if you were mailed this magazine, we know you are or have been a TMEA member already! Stay current and share your training accomplishments with your administration! This is not egotistical, this is job security! Be your own (humble) PR person!

HIGH SCHOOL AND MIDDLE SCHOOL STUDENTS! ENTER ONLINE FOR YOUR CHANCE TO WIN A Q SERIES OR AMADEUS FLUTE!

Dimension 4.4: School Community Involvement: Don’t get confined within your own four walls. Be seen. Be a leader on your campus and in your community.

Showcase your students and your school.

Share your strengths.

The T-TESS rubric, although not written specifically for music educators, does give explicit examples of mastery. It is imperative that you, as the music educator on your campus, implant buzz words and imprint the right picture of what an evaluator should see upon entering your classroom. Sam Harris, Director of Academic Enrichment and Fine Arts for Galena Park, published an excellent set of rubrics for expected activities in music classes. Giving these rubrics to your campus administrators will help them participate in a more informed observation of your class. I would also suggest sending brief updates each six weeks (following the expectations found in Dimension 1.2 of the T-TESS rubric) of SLO goals and progress to your administration. Find time to meet with all other Fine Arts teachers on your campus to review and align your language with that of your administration. Help your administrators and evaluators help you!

Student assessment is one of the controversial aspects of the T-TESS and is feared by many classroom teachers. This, however, is a common practice for music educators. The idea of basing teacher evaluations on student performance describes every UIL Concert & Sightreading evaluation, every performance, every studentteacher evaluation, and every elementary music classroom or performance.

Monitoring student understanding and progress and individualizing instruction to ensure 100% student engagement is an everyday occurrence for music teachers.

I hope that some of the suggestions laid out here will help to assuage some concern about the T-TESS. Share your own ideas and tips to help all of us survive this first year of new evaluations.

I believe we music people are way ahead of the game!

TMEA Clinic/Convention Housing Reservations Available October 4, 6 A.M. CT WWW.TMEA.ORG/HOUSING

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Southwestern Musician | October 2016

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7KH (VVHQWLDO 5ROH RI 6WXGHQW (TXLSPHQW Advice from Andre Canabou Clarinetist Andre Canabou has been active as a clarinet teacher and performer in North Dallas for the ODVW Č´IWHHQ \HDUV +H UHFHLYHG D %0 LQ &ODULQHW IURP WKH 8QLYHUVLW\ of Cincinnati and a MM in Clarinet IURP 1RUWKZHVWHUQ 8QLYHUVLW\ +H has performed as a member of the Civic Orchestra of Chicago, the Boise Philharmonic and the Sacramento 3KLOKDUPRQLF %DVHG LQ 3ODQR 7; he has a large and diverse studio ranging from beginning students to advanced students who perform in All-State and the Greater Dallas <RXWK 2UFKHVWUD

Can you tell us a little about your program/studio?

Texas has some of the best music programs in the nation and I am fortunate to work with students from Richardson and Plano ISD, two districts with excellent bands. I work with a very diverse group of students who range in ability from beginning 6th graders to some of the most advanced 11th and 12th grade high school students. The level of playing in North Texas is very high so I have been fortunate to typically have 4 or 5 students each year selected for the Texas All-State and many of my students perform with the Greater Dallas Youth Orchestra, and Lone Star Symphonic Youth Winds. I am delighted that many of my students continue to perform in college programs as varied as Harvard, MIT, Northwestern, University of Texas and Yale.

What role do you believe equipment plays in a studentâ&#x20AC;&#x2122;s success?

I believe that having the correct equipment and properly matching the mouthpiece, reed and ligature to the clarinet is essential for clarinet players of all levels and especially for beginners.

It is simply impossible for a student to develop correct articulation if he/ she uses a reed which is too soft. It is also impossible for a beginning student

to play into the clarion or altissimo registers with a soft reed. The â&#x20AC;&#x153;back of the envelopeâ&#x20AC;? idea that a beginner starts on a 2.5, progresses to a size 3.0 reed in 7th and 8th grade and then moves up to a 3.5 or 4.0 in high school is not useful; the teacher must account for the type of reed and type of mouthpiece being used. Finally, teachers need to pay close attention to the tuning of mouthpieces.

The complaints I hear most often from ers band directors about their clarinet players n. are in regards to tuning and articulation.

It is simply impossible for a student to ith successfully develop these concepts with a mismatched setup. \ /HWWLQJ D VWXGHQW EORZ Ă&#x20AC;DW XVLQJ D YHU\ soft reed on a sharp mouthpiece, may allow the student to â&#x20AC;&#x153;zeroâ&#x20AC;? the tuner but it almost guarantees that the student will have mushy articulation, inconsistent LQWHUYDOV DQG DQ XQIRFXVHG VRXQG , ÂżQG that it is much better to start students on a mouthpiece and reed combination into which they can grow and to address issues of proper voicing and tongue position right from the start.

of my most successful students have used this setup. I also find that with older students, I have good results with the M30 Lyre and the new BD5 13 series, which I have also recently started to play. Both take a slightly softer reed than the M15 and on these mouthpieces, I like the 56 rue Lepic reeds, size 3.5 or 3.5+. Many of my students have also had very good results wit with the Vandoren Vâ&#x20AC;˘12 reeds.

What products have you found work well for your students?

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

I find that Vandoren products are essential in helping my students play and perform at a high level. I have a strong preference for the 13 series (A=440) Vandoren mouthpieces. I like to start students on the M15 (13 series, profile 88) mouthpiece with M/O ligatures. Many

, Č´QG WKDW LW is much better to start students on a mouthpiece and reed combination into which they can grow.

TEXAS WOMANâ&#x20AC;&#x2122;S UNIVERSITY proudly welcomes

Dr. Carter Biggers Director of Bands and Assistant Professor of Music Prior to his appointment to Texas Woman's University, Dr. Biggers served as Assistant Director of Athletic Bands at the Pennsylvania State University.

He holds a B.M. in Music Education (percussion emphasis) and M.M. in Wind Band Conducting from Texas Tech University and a D.M.A. in Wind Band Conducting from the University of Iowa.

Dr. Biggers was a high school and junior high band director in Texas for seven years. His students and ensembles consistently received top ratings at local and state contests. In 2007, the Seagraves High School Honor Band under his direction was named runner-up to the Texas Music Educators Association Class 1A Honor Band.

"For the past century, the Texas Woman's University Department of Music has been an integral part of the university's mission to ignite potential, purpose and a pioneering spirit in its students. I am excited to join this active, dedicated and gifted faculty as we continue into our next 100 years of providing excellent music education."

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B Y

R O B E R T

F L O Y D

EXECUTIVE DIRECTOR’S NOTES

Addressing our roadbocks to success

A

October—Renew your TMEA membership online and preregister for the convention.

October 4, 6 a.m. CT—TMEA convention online housing system opens for members.

November 15—TMEA scholarship online application deadline.

December 31—TMEA mail/fax convention preregistration deadline.

January 19—TMEA online early registration deadline.

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

s I speak with members across the state, I often ask the question “What is the biggest challenge to overcome in building and sustaining a music program on your campus?” Your answers are varied, but ultimately the largest obstacles come down to the wide variety of middle school electives offered, local requirements in middle school, and local graduation requirements in high school. Many of our middle schools offer sixthgrade students up to 14 electives, from coding and robotics to languages, leadership, and AVID, to skills for living, to office assistant, to fishing—yes, even fishing. Certainly each course has its unique appeal to parents and students. At the eighth-grade level, students are being encouraged to take high school credit courses that will meet graduation requirements, and in some districts students are required to take a career explorations course. This eliminates an elective at the most critical eighth-grade level, forcing students to make difficult choices about remaining in our programs.

As a reminder, students in seventh or eighth grade must by law receive information on career opportunities, but districts have several options for providing that information that do not require every student to take a separate course for such purpose.

Other threats to arts education, not in any particular order, are excessive time and cost requirements tied to course participation, early college high school and dual credit options, fear of lowering one’s GPA by participating in music, a perception that some endorsements such as STEM are more rigorous, robust, and valued than others like Arts and Humanities, concern by students that you have to work too hard in a music class, pull-out for STAAR preparation and remediation, and the list goes on.

There is nothing in state law or state board rule that triggers these day-in-and-day-out obstacles to building a program, and thus they may be addressed at the local level.

Southwestern Musician | October 2016 11

You have what it takes.

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At the elementary level most calls center around limited instructional time, oversized classes, and violation of the pull-out law. This is despite the fact that law and SBOE rule require TEKS-based instruction in art, music, and theatre to be taught, and the student is required to demonstrate proficiency in each of these subject areas to receive a final grade.

There is one common thread to all these roadblocks to sustaining and maintaining a quality program on your campus.

All of these challenges have been put in place as a result of local decisions by either the district leadership, the campus administration, or you as the teacher. There is nothing in state law or state board rule that triggers these day-in-and-day-out obstacles to building a program, and thus they may be addressed at the local level.

Our support in law and rule is stronger than it has ever been, but we live, work, and pay our taxes in a state where the predominant education philosophy is one of local control. As a result, there is wiggle room for districts to manipulate policy if they choose to do so.

The issue, then, comes down to the importance of advocacy at the district

Bryan Cheney, Director, Houston MS Band, Hobbs, NM “After my first year using RB with beginners (2012), I warned the HS directors: ‘Your teaching style will have to change.’ Those beginners are hitting HS now. The freshmen are running circles around seniors. RB changes teaching from sounding out "C-A-T" to discussing the philosophical underpinnings of Hamlet. That's the difference between my bands 4 years ago and today. Now my top band students hold themselves and each other accountable, because they KNOW correct and can teach themselves. RhythmBee has done that.”

level. While as a teacher I always viewed advocacy as TMEA’s or someone else’s responsibility, the reality is that it is the job of each of us. I would encourage you to go to www.tmea.org/localadvocacy. It is a great starting point for how to address the above issues at the local level.

Make every effort to be proactive and not reactive. In the case of music, help upper-level administrators understand the importance of feeder programs in sustaining quality programs at the high school level. Remind your administration, or more specifically your superintendent, that if Friday night’s marching band has dwindled in size three or four years from now, it is too late to wonder why and look to the band director to fix it. Issues of concern must be addressed in the present.

Another wonderful resource is a SOUTHWESTERN MUSICIAN article written by one of our own members, Peter Warshaw. Peter’s article, Is Anybody Listening?, offers how to effectively share the academic nature of music and the arts with district leadership and the importance of building positive relationships in effective arts advocacy (available at www.tmea.org/may2009listening).

Emily Binder, Director, Neuqua Valley HS Band, Naperville, Il “Our 9-12 kids loved our first year with RhythmBee. Many cited RB as one of the biggest factors in improving their counting and rhythm performance with a steady pulse. This year, I will use RB daily as my main intervention for the Student Learning Outcomes component of my teacher evaluation. (I will be targeting rhythm). Thanks to Buzzy for his collaborative partnership with his clients. He is constantly soliciting feedback for ways to better serve the students. RB is a fantastic tool that is great for kids.

Thank you, RhythmBee!”

John Benham’s S OUTH W ESTER N MUSICIAN article, Music Advocacy, is another resource that speaks to common strategic errors in music advocacy. It is a must-read, speaking to what you must not do in promoting your program (available at www.tmea.org/nov2011advocacy).

A third SOUTHWESTERN MUSICIAN resource is an archived article written

by Rick Ghinelli and Jeff Laird entitled Communicating with Administrators. The cornerstone of their article is that what you communicate and how you communicate it is the key to solving problems successfully. It is another wonderful advocacy tool (available at www.tmea.org/ sep2010administrator).

Finally, you can find numerous advocacy articles and materials for distribution to school board members and administrators at ww.tmea.org/advocacymaterials. As a reminder, also on the website is an article published in the January S OUTH W ESTER N MUSICI A N entitled Music Education in the Law (available at www.tmea.org/whatthelawsays). Keep it handy as a resource, but never hesitate to call this office for additional assistance. I will do all I can to be of service.

Sydney Sewell, Director, Central HS Choir, Carrollton, GA “RhythmBee has had a lasting impact on my singers. A year ago, my beginners could not identify a quarter note. By December, we were counting 4-part syncopated exercises with relative ease. The RhythmBee rhythm and solfeggio material changed our performance practice by helping me develop musicians, not just singers. This year, enrollment has doubled! Reading skills are evident, and an amazing team of student leaders are taking ownership and leading class by example and with positive attitudes. Thank you, Dr. Green and Sue. Your products have helped me establish a chorus culture.”

Southwestern Musician | October 2016 13

WIND BAND

CONGRATULATIONS 2016 MARK OF EXCELLENCE NATIONAL WINNERS Class A Bonham MS Symphonic Band........................................................................................Mike Ellis ........................................................................................................................... Amarillo, TX Clark MS Symphonic Band ............................................................................................Ben Katz ................................................................................................................................. Frisco, TX Hunt MS Symphonic Band ..............................................................................................Kristen Dillard......................................................................................................................... Frisco, TX Killian MS Honors Band..................................................................................................Rob Chilton ...................................................................................................................... Lewisville, TX

Class AA Aledo MS Honor Winds .................................................................................................Joey Qualls ........................................................................................................................... Aledo, TX Arbor Creek MS Honors Band .......................................................................................Rylon Guidry...................................................................................................................Carrollton, TX Canyon Vista Honors Band ............................................................................................Ryan Johnstone ......................................................................................................................Austin, TX Cedar Park MS Symphonic Band ..................................................................................Manuel C. San Luis ......................................................................................................Cedar Park, TX Cockrill MS Honors Band ...............................................................................................Gary Williams ................................................................................................................McKinney, TX Cooper JH Wind Ensemble ............................................................................................Adam Powell..........................................................................................................................Wylie, TX Coppell MS East Honor Winds ......................................................................................Rusty Gray.......................................................................................................................... Coppell, TX Dawson MS Wind Ensemble ..........................................................................................Rebecca Click ................................................................................................................. Southlake, TX Fort Settlement MS Honors Band ...................................................................................Greg Countryman & Theresa Baragas ...................................................................... Sugar Land, TX Artie Henry MS Honors Band ........................................................................................Robert T. Herrings, III ...................................................................................................Cedar Park, TX Indian Springs Wind Ensemble ......................................................................................David Puckett ......................................................................................................................... Keller, TX McAdams JH Honors Band ............................................................................................John Hinojosa ..................................................................................................................Dickinson, TX Berry Miller JH Honors Band ..........................................................................................Chris Bennett .....................................................................................................................Pearland, TX Oliveira MS Symphonic Band ........................................................................................Gaspar Garcia .............................................................................................................Brownsville, TX Robinson MS Wind Ensemble ........................................................................................Kimberly Hernandez ............................................................................................................. Plano, TX Stiles MS Honors Band ...................................................................................................Darcy Potter Williams........................................................................................................ Leander, TX T.A. Howard Honor Band ...............................................................................................Nathaniel Neugent ......................................................................................................... Arlington, TX

Class AAAA North Lamar Symphonic Band .......................................................................................Randy Jones .............................................................................................................................Paris, TX Booker T. Washington HSPVA ........................................................................................Larry Schnitzer ...................................................................................................................... Dallas, TX

Class AAAAA Frisco HS Wind Symphony .............................................................................................Gregory Hayes...................................................................................................................... Frisco, TX Jasper HS Wind Ensemble ..............................................................................................Jackie Digby .......................................................................................................................... Plano, TX McCallum HS Wind Ensemble .......................................................................................Carol Nelson .........................................................................................................................Austin, TX Midlothian HS Wind Ensemble ......................................................................................Larry Doran ................................................................................................................... Midlothian, TX Timberview HS Wind Symphony ...................................................................................Eric M. Mullins ................................................................................................................. Arlington, TX Waxahachie HS Wind Ensemble ...................................................................................Rich Armstrong ...........................................................................................................Waxahachie, TX

Class AAAAAA Hebron HS Wind Symphony ..........................................................................................Andy Sealy .....................................................................................................................Carrollton, TX Keller HS Wind Ensemble ...............................................................................................Mark McGahey .................................................................................................................... Keller, TX Oak Ridge HS Wind Ensemble ......................................................................................Dana Pradervand ............................................................................................................... Conroe, TX Plano West Senior HS Wind Ensemble .........................................................................James Hannah ....................................................................................................................... Plano, TX Ronald Reagan HS Wind Ensemble ..............................................................................Daniel Morrison..........................................................................................................San Antonio, TX Spring Wind Ensemble ....................................................................................................Gabe Musella.......................................................................................................................Spring, TX Vista Ridge HS Wind Ensemble......................................................................................Bryan Christian .............................................................................................................Cedar Park, TX Westwood HS Wind Ensemble ......................................................................................Jack Green .............................................................................................................................Austin, TX

New Music Division Berry Miller JH Honors Band ..........................................................................................Chris Bennett .....................................................................................................................Pearland, TX Lockport Wind Symphony ..............................................................................................Brian E. Covey ....................................................................................................................Lockport, IL Pioneer HS Symphony Band...........................................................................................David A. Leach ............................................................................................................. Ann Arbor, MI Vista Ridge HS Wind Ensemble......................................................................................Bryan Christian .............................................................................................................Cedar Park, TX

COMMENDED WINNERS Class A Bailey MS Wind Ensemble .............................................................................................Sara McGarry .......................................................................................................................Austin, TX Reed MS Symphonic I Band ...........................................................................................Michelle Hanegan ......................................................................................................Duncanville, TX Roma MS Symphonic Winds ..........................................................................................Corey L. Graves ..................................................................................................................... Roma, TX

Class AA Cedar Valley MS Honors Band......................................................................................Jane Botkin .............................................................................................................................Austin, TX Creek Valley Honor Winds .............................................................................................Kim Cooley .....................................................................................................................Carrollton, TX Dueitt MS Symphonic Band ............................................................................................Christopher Gonzales ..........................................................................................................Spring, TX Hudson Bend MS Honors Band .....................................................................................Ryan Oâ&#x20AC;&#x2122;Donoghue ................................................................................................................Austin, TX Hamilton MS Symphonic Band ......................................................................................Jamie Cabot ....................................................................................................................... Cypress, TX Kealing MS Wind Ensemble ...........................................................................................Sara Robison..........................................................................................................................Austin, TX Kennemer MS Symphonic I Band ..................................................................................Luzviminda S. Pascasio ........................................................................................................ Dallas, TX Kleb Int Symphonic Band ................................................................................................Jennifer Wren ........................................................................................................................Spring, TX Lamar JH Honor Band .....................................................................................................John Barton ....................................................................................................................Rosenberg, TX Maus MS Wind Ensemble ..............................................................................................Katie Lewis.............................................................................................................................. Frisco, TX McKamy Honor Winds ...................................................................................................Russell Cote .............................................................................................................Flower Mound, TX Murchison Wind Ensemble .............................................................................................Whitney Crowley ...................................................................................................................Austin, TX Salyards Symphonic I Band ............................................................................................Joe Glass ........................................................................................................................... Cypress, TX Shadow Ridge MS Honor Winds ..................................................................................Chris Meredith & Alicia DeSoto ............................................................................Flower Mound, TX Wallace MS Wind Ensemble .........................................................................................James C. Malik .........................................................................................................................Kyle, TX Wester MS Symphonic Band..........................................................................................Brad Smith .............................................................................................................................. Frisco, TX Wiley MS Wind Ensemble..............................................................................................Garland Chiasson ............................................................................................................. Leander, TX

Class AAAA Argyle HS Wind Ensemble .............................................................................................Kathy Johnson .......................................................................................................................Argyle, TX Kennedale HS Symphonic Band ....................................................................................Erol K. Oktay..................................................................................................................Kennedale, TX

Class AAAAA Burleson HS Wind Ensemble ..........................................................................................Joe McGee ....................................................................................................................... Burleson, TX Crosby HS Symphonic Band ..........................................................................................Kevin Knight .........................................................................................................................Crosby, TX Libertyville HS Wind Ensemble.......................................................................................Adam Gohr ..................................................................................................................... Libertyville, IL Summit HS Wind Symphony...........................................................................................Chris Kanicki .................................................................................................................... Arlington, TX Vernon Hills HS Wind Ensemble ....................................................................................Randy Sundell ...............................................................................................................Vernon Hills, IL Willis HS Wind Ensemble ...............................................................................................Chris Allen & Matt Martinez ................................................................................................ Willis, TX

SPECIAL THANKS TO WIND BAND ADJUDICATORS PAULA CRIDER, JAMES KEENE, AND GARY GREEN. THE 2016 MARK OF EXCELLENCE HAD 236 ENTRIES AND HAS NOW RECEIVED ENTRIES FROM 36 STATES. MORE INFORMATION AT: WWW.FOUNDATIONFORMUSICEDUCATION.ORG/MARK-OF-EXCELLENCE RICK YANCEY, MANAGING DIRECTOR - RICK@DIRECTORSCHOICE.TRAVEL

NATIONAL WIND BAND, ORCHESTRA, AND JAZZ HONORS WINNERS! COMMENDED WINNERS – WIND BAND – CONTINUED Class AAAAAA Brazoswood Symphonic Band .......................................................................................Brian Casey.............................................................................................................................Clute, TX Clements HS Symphonic Band .......................................................................................Daniel Galloway ......................................................................................................... Sugar Land, TX College Park HS Wind Ensemble ...................................................................................Charlotte M. Royal ............................................................................................... The Woodlands, TX Langham Creek HS Wind Ensemble ..............................................................................Gloria Ramirez...................................................................................................................Houston, TX North Shore SHS Wind Ensemble .................................................................................Shane Goforth ...................................................................................................................Houston, TX Plano East Senior HS Wind Ensemble ...........................................................................Evelio Villarreal ...................................................................................................................... Plano, TX Richland HS Honors Band ..............................................................................................Jason Bird .......................................................................................................................... Richland, TX

New Music Division

ORCHESTRA

Fossil Ridge HS Wind Ensemble .....................................................................................Brad Allen ......................................................................................................................Fort Worth, TX Friendswood JH Symphonic Band..................................................................................Sarah Bennett ............................................................................................................Friendswood, TX Lehman HS Wind Ensemble............................................................................................Joey Lucita .................................................................................................................................Kyle, TX

NATIONAL WINNERS High School Full Orchestra Plano West Symphony ....................................................................................................Ryan Ross & James Hannah ............................................................................................... Plano, TX Seven Lakes HS Symphony Orchestra ...........................................................................Desiree Overree ...................................................................................................................... Katy, TX James Taylor HS Symphony Orchestra .........................................................................Clinton Capshaw, Mike Ary & Tiffany Webb ....................................................................... Katy, TX

High School String Orchestra Allen HS Chamber Orchestra .........................................................................................David DeVoto & Matt Cross .................................................................................................. Allen, TX Centennial HS Varsity String Orchestra .........................................................................Dr. Priscilla Holt & Andy Rein ............................................................................................... Frisco, TX L.D. Bell Symphony Orchestra ........................................................................................Allison King ............................................................................................................................. Hurst, TX Lovejoy HS Chamber Orchestra.....................................................................................Joey Sloan.............................................................................................................................. Lucas, TX Plano West Chamber Orchestra.....................................................................................Ryan Ross ............................................................................................................................... Plano, TX

Middle School Full Orchestra Curtis MS Symphony Orchestra .....................................................................................Amanda Su & Monika Bartley .............................................................................................. Allen, TX

Middle School String Orchestra Beckendorff JH Honor Orchestra ...................................................................................Karel Butz ................................................................................................................................. Katy, TX Creekwood Chamber Orchestra ....................................................................................Ken Buck & Rachel Brogdon......................................................................................... Kingwood, TX Curtis MS Chamber Orchestra .......................................................................................Amanda Su & Monika Bartley .............................................................................................. Allen, TX Ereckson Chamber Orchesta ..........................................................................................Joanna DeVoto ....................................................................................................................... Allen, TX Ford MS Chamber Orchestra .........................................................................................Valerie Curry........................................................................................................................... Allen, TX League City Int Chamber Orchestra ..............................................................................Sara Styskel & Alice McCoy ......................................................................................League City, TX McMeans JH Orchestra .................................................................................................Amy Williams ........................................................................................................................... Katy, TX

Youth Orchestra Houston Youth Symphony ...............................................................................................Michael Webster ...............................................................................................................Houston, TX

COMMENDED WINNERS High School Full Orchestra Allen HS Symphony Orchestra .......................................................................................David DeVoto & Matt Cross .................................................................................................. Allen, TX Dulles HS Honors Symphony Orchestra ........................................................................Michael Alan Isadore ................................................................................................. Sugar Land, TX Independence HS Symphony Orchestra .......................................................................Lindsey Titus ........................................................................................................................... Frisco, TX Rockwall HS Symphony Orchestra ................................................................................Charlsie Griffiths .............................................................................................................. Rockwall, TX

High School String Orchestra Stephen F Austin HS Camerata Orchestra.....................................................................Carolyn Vandiver & Elizabeth Mandic-Nowac........................................................ Sugar Land, TX Dulles HS Honors String Orchestra ................................................................................Michael Alan Isadore ................................................................................................. Sugar Land, TX Jasper HS Legacy Orchestra ..........................................................................................Matthew Moreno .................................................................................................................. Plano, TX LBJ HS Camerata Orchestra ...........................................................................................Luzvic Backstrom....................................................................................................................Austin, TX Seven Lakes HS Symphony Orchestra ...........................................................................Desiree Overree ...................................................................................................................... Katy, TX

Middle School Full Orchestra Ereckson Symphony Orchestra .......................................................................................Joanna DeVoto ....................................................................................................................... Allen, TX

Middle School String Orchestra

JAZZ

Fort Settlement MS Chamber Orchestra ........................................................................Angela Peugnet ........................................................................................................... Sugar Land, TX Garcia MS Symphonic Orchestra ..................................................................................Priscilla McGar ............................................................................................................ Sugar Land, TX McCullough JH Chamber Orchestra .............................................................................Colin Larsen .......................................................................................................... The Woodlands, TX Vandeventer MS Chamber Orchestra ...........................................................................Daniel Rodriguez ................................................................................................................... Frisco, TX Williams MS Orchestra ...................................................................................................Robert Halczyn ..................................................................................................................... Tampa, FL

High School Jazz Ensemble

NATIONAL WINNERS

The Birdville HS Jazz Ensemble ......................................................................................Mike Cheripka ..............................................................................................North Richland Hills, TX Denton HS Lab Band 1 ................................................................................................... Jesse Woolery ....................................................................................................................Denton, TX

Middle School Jazz Ensemble Coral Springs MS Jazz Band..........................................................................................Luis Piccinelli.............................................................................................................. Coral Springs, FL Glades MS Concert Jazz Band ......................................................................................Erich S. Rivero ........................................................................................................................Miami, FL

High School Jazz Ensemble

COMMENDED WINNERS

Temple HS Highlighters ...................................................................................................Brent Mathesen ....................................................................................................................Temple, TX

Middle School Jazz Ensemble Dawson MS Jazz Band ...................................................................................................Eric Guerrero .................................................................................................................. Southlake, TX

THANKS TO ADJUDICATORS LARRY LIVINGSTON (ORCHESTRA) AND BILL SNODGRASS (JAZZ). THIS YEAR’S PROJECT HAD 236 ENTRANTS. THE MARK OF EXCELLENCE PROGRAM HAS NOW RECEIVED ENTRIES FROM 36 STATES. MORE INFORMATION AT: WWW.FOUNDATIONFORMUSICEDUCATION.ORG/MARK-OF-EXCELLENCE RICK YANCEY, MANAGING DIRECTOR - RICK@DIRECTORSCHOICE.TRAVEL

CONGRATULATIONS 2016 MARK OF EXCELLENCE NATIONAL CHORAL & PERCUSSION HONORS WINNERS!

CHORAL

NATIONAL WINNERS

COMMENDED WINNERS

High School Mixed Choir HSPVA Madrigal Singers........................Shannon Carter, Julia Hall.........................................Houston, TX

High School Mixed Choir Spring HS Chamber Choir...................David Landgrebe.................Spring, TX

High School Open Class

High School Open Class Spring HS Chorale Women...................David Landgrebe, Chelsea Berner................................Spring, TX

Middle School Treble Choir McCullough Chamber Choir...................Connie Horton...................The Woodlands, TX

Middle School Open Class Rice MS Tenor Bass Choir........................Chelsea Farmer...................................Plano, TX Special thanks to adjudicator Betsy Cook Weber – University of Houston

PERCUSSION

Oak Ridge HS Varsity Tenor Bass Choir...................... J.R. Smith..............................Conroe, TX

Middle School Treble Choir Rice MS Acapella Treble Choir............Chelsea Farmer.......................Plano, TX Robinson MS Varsity Treble Choir........Kimberley Ahrens...................Plano, TX

Middle School Open Class McCullough Mixed Choir....................Connie Horton.......The Woodlands, TX

NATIONAL WINNERS

High School Percussion Ensemble

Denton HS Percussion Ensemble.............................................................................Robert Brannock..................................................................................................................Denton, TX Manvel HS Percussion Ensemble............................................................................Louis M. Boldrighini.............................................................................................................Manvel, TX

Middle School Percussion Ensemble Dueitt MS Percussion Ensemble..............................................................................Tamara Williams .................................................................................................................Spring, TX

COMMENDED WINNERS

High School Percussion Ensemble

Spring HS Percussion Ensemble............................................................................ JD Guzman............................................................................................................................Spring, TX Waxahachie HS Percussion Ensemble..................................................................Paul Jaso......................................................................................................................Waxahachie, TX

Middle School Percussion Ensemble Cook MS Percussion Ensemble.............................................................................Michael Dick & Jonathan Carr...........................................................................................Houston, TX Special Thanks to adjudicator Casey Cangelosi – James Madison University

THANKS TO ADJUDICATORS CASEY CANGELOSI (PERCUSSION) & BETSY COOK WEBER (CHORAL)! THIS YEAR’S PROJECT HAD 236 ENTRANTS. THE MARK OF EXCELLENCE PROGRAM HAS NOW RECEIVED ENTRIES FROM 36 STATES. MORE INFORMATION AT: WWW.FOUNDATIONFORMUSICEDUCATION.ORG/MARK-OF-EXCELLENCE RICK YANCEY, MANAGING DIRECTOR - RICK@DIRECTORSCHOICE.TRAVEL

RECORDINGS NOW AVAILABLE! Compilation recordings of the Mark of Excellence National Winners will now be offered as an MP3 download through MarkCustom.com These performances are now a permanent fixture in the most comprehensive and prestigious library of its type, and are accessible from anywhere in the world in just a few minutes.

Performances by the National Winners represent the top 25% of the entries, and demonstrate stunning musical achievement and exemplary teaching! In 2016 the project had 236 entries, and has now received entries from 36 states.

View and access the Mark website and catalog at www.markcustom.com

HONORS

For more information on the Mark of Excellence visit www.foundationformusiceducation.org/mark-of-excellence

A Continued Commitment to Excellence TMEA 2015–2016 Annual Report

by Andy Sealy

T

MEA members are among the curricular leaders and musical role models for the nation. Our members and professional office staff strive not only to maintain the current level of excellence and services that the organization provides but also to face the challenges of keeping music education relevant and adaptable to the changing conditions in our state. These challenges are highlighted by TMEA’s completion and adoption of a new statewide alignment, our move to a new convention facility model, and a renewed commitment to the understanding and perspective of educators teaching in urban settings.

Membership TMEA membership was on the increase again for 2015–2016.

At the close of this membership year, the total membership was 18,568. This number includes: • Active Members – 12,773 • Retired Members – 879 • Student Members – 4267 • Institutional Members – 67 • Sustaining Members – 582 The continued strength of TMEA membership reflects our long-standing effectiveness and relevance to music education across the state.

Region/Area Alignment After two years of data study, member feedback, and close collaboration with UIL, the TMEA Executive Board adopted a new Region/Area alignment. This new statewide configuration created five new Regions and one entirely new Area. Full implementation began with the 2016–2017 school year.

In February 2015, interim Region officers were elected. These officers began developing Region audition policies and procedure templates, securing audition sites and hosts, selecting and contacting Region clinicians, and dividing assets and equipment between the affected regions. These interim leaders are to be commended for the professional and cooperative spirit in which they approached the time sensitive disposition of these daunting tasks. The TMEA office provided oversight guidance when necessary to assist with the sharing of Region assets.

2016 Clinic/Convention In addition to the usual stunning array of inspirational concerts and valuable clinic offerings, the 2016 TMEA Clinic/Convention featured the unveiling of the newly expanded Henry B. Gonzalez Convention Center. Convention attendees were treated to a vastly larger and reconfigured exhibit hall space, a new College Fair, enhanced rehearsal and performance venues, and a wider array of meeting facilities and dining options. The seamless transition to the new facility and the enormous success of the convention was due largely to the concentrated efforts of the entire TMEA office staff to envision and execute an action plan for usage of the new convention center. Post-convention feedback and follow-up discussions have already guided TMEA in ways to better utilize the space more efficiently to the benefit of the attendees for 2017.

Convention attendees were delighted by the Canadian Brass at the scholarship benefit President’s Concert, sponsored by Conn-Selmer, Inc. General Session keynote speakers were Larry Livingston and Tod Machover. Attendees also enjoyed the preconference opportunity to attend specialized clinics focusing on technology as a part of music instruction presented by TI:ME Music Technology National Conference. Joe Muñoz and Si Millican were elected by their respective divisions to the TMEA Executive Board, and Andy Sealy was elected to serve as TMEA Southwestern Musician | October 2016 17

President-Elect.

By the numbers, the TMEA 2016 Clinic/Convention encompassed the following: • 314 clinics • 122 performances • 1,309 exhibit hall booths • 121 college fair booths • 10,259 Active member attendees • 29,281 total attendees Summer Dialogue A special Summer Dialogue on the complex topic of urban music education was held in June. For two days educators and administrators from successful urban settings, representing all divisions, met in Austin to discuss the changing demographics of Texas schools and the changing needs of Texas students. Enlightening and inspirational testimony centered on how to deliver a culturally relevant curriculum while maintaining high musical standards. Philosophically, the TMEA Executive Board has committed to ongoing support for urban music education through SOUTHWESTERN MUSICIAN arti-

cles, future convention offerings, dedicated mentorship resources, and continued dialogue with teaching professionals from outstanding urban programs.

All-State Process Review In June the Executive Board reviewed the TMEA All-State entry and audition procedures for each division. After collecting data and soliciting membership input, the Executive Board continued to refine the Large School and Small School All-State Choir audition process. In addition, the Executive Board approved changes to the Vocal Division All-State groups, resulting in removing gender designation for voice part audition eligibility. With that, the previous Women’s and Men’s choirs will be the All-State Treble and All-State Tenor-Bass Choirs.

Legislative Update TMEA leadership and contracted lobbyists continued to monitor and address education committee charges from Lieutenant Governor Dan Patrick and House Speaker Joe Straus regarding any impending legislation that could adversely affect our current legal standing on fine

RBC MUSIC COMPANY INCORPORATED

18 Southwestern Musician | October 2016

arts related issues. Executive Director Floyd and our lobbyists met with various Senate offices to heighten awareness of the necessity of protecting middle school fine arts and other elective opportunities by not adding a state-required course relating to career development. A meeting was also held with UT/Austin staff (who received the contract to develop counselor training for HB 5), assuring that accurate information is provided related to fine arts requirements and options.

6WDWH %RDUG IRU (GXFDWRU &HUWLÀFDWLRQ Over the past year TMEA leadership has been engaged in dialogue with the State Board for Educator Certification (SBEC) and Texas Education Agency staff on two issues that could have negative impacts on teacher training and preparation for fine arts instruction in our state.

TEA staff has agreed to support TMEArecommended language not to require field supervisors of student teachers to be currently certified to teach in our state if they have a master’s degree in their area of specialization. While current certification might sound like a reasonable expectation, TMEA’s position is based on numerous

Music is your passion TCU is your school

highly successful field supervisors in our state whose certifications earned in other states have long since expired. To require these individuals to go through the certification process in Texas after years of successful field supervision represents an unneeded and costly exercise that would not improve teacher quality in the classroom. This rule change will be up for an SBEC vote this month, and at this point, with the support of TEA staff, there is every indication it will pass.

TMEA leadership also visited with TEA staff to rescind an earlier recommendation to SBEC that certification to teach music, art, and theater be eliminated from the K–5 teacher certification state assessment. If such a rule passed, no future elementary teacher would be certified to deliver instruction in fine arts. Certainly requiring districts to hire music, art, and theater specialists would strengthen instruction statewide in our discipline, but the lack of available teachers could result in the elimination of the elementary school fine arts requirement.

It could also trigger the development of an elementary fine arts teacher certification pathway that would replace music specialists in the elementary classroom. It was a risk TMEA leadership did not believe was in the best interest of fine arts education in our elementary schools. This recommendation from TEA staff has been indefinitely tabled by SBEC. Mentoring Network The TMEA Mentoring Network continues to expand. This exciting program seeks to strengthen our profession by pairing experienced mentor teachers with music education professionals new to Texas and those just beginning their journey. Mentor teachers provide an added level of support, guidance, and resources for their protégés. The program is administered through the TMEA office, and 2015–2016 ended with 237 protégés and 380 advisers enrolled. Please consider volunteering to serve as a mentor and ensure new teachers in your district are aware of this program. For additional information go to www.tmea.org/mentor.

Texas Future Music Educators TFME chapters continue to flourish all across the state. There are now 45 chapters boasting 1,056 members, and 795 20 Southwestern Musician | October 2016

of these young people attended the 2016 TMEA Clinic/Convention. The TFME program provides opportunities for students interested in pursuing a career in music education to interact with practicing classroom professionals. TMEA member sponsors can share firsthand experiences and knowledge with high school students eager to explore music education. Consider promoting the future of Texas music education by starting a TFME chapter on your campus. Read more at www.tmea.org/tfme.

Financial Status TMEA remains in a strong long-term financial position by virtue of reasoned diversification of funds, continued conservative investing, and responsible management and oversight. We continue to maintain two years’ worth of operating expenses in savings and investments.

Financial reports must be filed on each Region bank account, and accounts are randomly selected for audit each year.

Contracts for TMEA services and relevant tax documents continue to be issued by the office staff. In September 2015, TMEA completed an annual independent audit of its financial statements as provided for in the TMEA constitution (this report is available at www.tmea.org/ about).

Scholarship and Scholars The TMEA scholarship program supports the needs of graduating high school seniors, collegiate undergraduates, student teachers, and graduate students. Through the generous donations of our membership, investments, and vendor contributions, TMEA was able to award $180,000 in scholarships to deserving current and future music educators in 2015–2016.

The Texas Music Scholars program recognizes student commitment and dedication to music and academic achievement. Over 200 schools participated in the Texas Music Scholars program, and 2,237 students were awarded certificates and commemorative patches.

TMEA Distinguished Administrator Awards TMEA continued to recognize outstanding administrators through member nominations. This program was created in 2011 to celebrate and recognize school

administrators from across the state who have been instrumental in preserving and promoting quality music education programs on their campuses and in their districts. To date, TMEA has honored almost 200 administrators with this distinction.

TMEA members can submit nominations online at www.tmea.org/adminaward.

Texas Music Education Research Journal Throughout the year, TMEA staff and the College Division leadership applied through the Library of Congress to gain the assignment of an ISSN for issues of Texas Music Education Research (the online journal containing selected research reports presented during the annual TMEA College Division Research Poster Session). After gaining an ISSN, TMEA worked with ERIC and EBSCO, and now this journal’s research reports are searchable from their digital libraries, creating a greater national presence for this publication.

2IÀFHU 7UDLQLQJ TMEA Region and Area Chair training sessions were provided in conjunction with the summer conventions.

The primary focus of the training sessions during the summer of 2015 was to receive Region-level feedback regarding the ongoing realignment process as presented at the convention in February 2015. Officer training was planned for the summer of 2016, focused on the delivery of information and resources to the Region Division Chairs, many of whom were newly elected or serving Regions and Areas newly created as a part of the realignment process.

Looking to the Future With over 12,000 active teacher members and incredible support from our music industry partners, TMEA continues to offer a strong presence for you and your students by championing the merits of music education for all students. We are a strong organization because of you and we look forward to continuing to serve you and your students.

Andy Sealy is TMEA President-Elect and Hebron HS Director of Bands.

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

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

All Performances at Edgewood Theatre of Performing Arts

musicfesttexas.com

800-323-0974

info@edprog.com

Blinn College Scholarship awards are available!

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

December 17, 2016 January 21, 2017 March 4, 2017 April 22, 2017 May 13, 2017

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

or by scheduling an individual appointment

Our outstanding music faculty members are waiting for you!

Blinn College Music Faculty Dr. Marcelo Bussiki ... Division Academic Dean Todd Quinlan.............. Performing Arts Department Head Jill Stewart ................... Instrumental Music Coordinator Brenham Campus (Instrumental) Dr. Sarah Burke .......... Director of Bands/ Percussion Kerry Bird ................... Woodwinds/General Music John Dujka .................... Piano/Music Theory

Dr. Craig Garrett ....... Jazz Studies/Trumpet Brian Klekar................ Jazz Studies/ Saxophone Jeffrey Hill.................... Double Bass Dr. Li Kuang ................ Trombone Marie McElroy ............ Flute Dr. Eric Miller ................ Double Reed Kendall Prinz ............. Assistant Band Director/Low Brass Hermillo Salinas, III.... Color Guard Jill Stewart ................... Clarinet Steven Winter ............ French Horn

Brenham Campus (Vocal) Dr. Paulo Gomes ....... Choir Director Dr. Soo Kim ................ Director of Vocal Studies Cheryl Amelang ......... Accompanist Dr. Linda Patterson ... Accompanist Cindy Schulz ............... Accompanist Bryan Campus Prudence McDaniel... Cello Michelle Lassiter ........ General Music Dr. Alan Strong.......... General Music

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

www.blinn.edu/vpa/auditions

B Y

J O E

BAND NOTES

M U Ñ O Z

In Memoriam

JOSEPH CASTELLANO March 13, 1938–August 28, 2016 GARLAND K NETEN February 5, 1939–September 12, 2016

Skills beyond the band room

D

October—Renew your TMEA membership online and preregister for the convention.

October 4, 6 a.m. CT—TMEA convention online housing system opens for members.

October 22—Deadline to upload All-State Jazz audition recordings.

November 12–13—All-State Jazz judging.

November 15—TMEA scholarship online application deadline.

December 31—TMEA mail/fax convention preregistration deadline.

January 7—Area Band and Vocal auditions.

January 19—TMEA convention online early registration deadline.

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

o you ever hear students or colleagues say (or do you say to yourself), “I’m so stressed out—I don’t know what I’m going to do!” How do we get to this point? Does it happen at certain times of the year? Stress, and the way we handle it, is a part of each and every day.

As the newness of the school year transitions into what some consider the daily grind, we and our students can experience added stress. This stress may come from rehearsal schedules, academic requirements, competition, Region auditions, matters at home or work, or a combination of these factors.

Discussing stress management skills with our students can be a way to help them learn (and remind us) how to be successful when experiencing challenges that can be or appear to be hard to handle. As I have discussed in previous columns, one of the most effective ways to manage stress is to develop an action plan and base it on deadlines. This will help keep things from building up from the common human practice of procrastination.

Our junior high and middle school students, or high school students who are new to the Region Band audition process, might find auditions very stressful. Familiarity with the process can help students manage that stress.

Take time to have listening sessions or mock auditions to help these students understand the process while giving them tools to help them have a positive experience. Using eighth-grade or more experienced students as experts can give your experienced students a chance to reinforce what they have learned while giving your younger students a different perspective than that of the

)RFXVLQJ VWXGHQWV RQ WKH EHQHÀWV RI WKH competition rather than the winners and losers of the competition can help your students become better performers Southwestern Musician | October 2016 23

teacher. We have all heard it before—kids relate better to kids—and they can often surprise us with how they can present coping solutions we initially may not have considered.

Competition can also be a stressful experience for students and instructors. How can we minimize the stress of competition? Focusing on showcasing your students’ talents is one way to shift the focus away from the competition. Featuring student work and talent through the process of attending competitions can help students understand that

competition can be part of the educational process. Receiving evaluation and feedback from competitions can reinforce the positive things student are achieving. It can also help us and our students find areas in which we can progress to the next level. Focusing students on the benefits of the competition rather than the winners and losers of the competition can help your students become better performers and reduce the stress they feel as they approach their competition performance.

Understanding how to manage stressful situations can be one of the most

valuable, lifelong lessons we provide our students. While we expose our students to experiences of auditions and competition, keeping the focus on their talent and growth can help them see the accomplishment of their achievement. As we work into the busy middle of the fall semester, make sure that you take time to keep perspective of what is important—student growth through the passion we share for music.

TMEA Clinic/Convention Update Remember to renew your TMEA Membership if you have not done so.

Remember that you must be a TMEA member to enter your students in the TMEA audition process. Also, please consider serving as a volunteer for TMEA for some capacity at the 2017 TMEA Clinic/ Convention in February. You may volunteer by submitting your information online at www.tmea.org/bandvolunteer.

I am honored and delighted to announce our slate of conductors for the 2017 All-State Bands. Our students are bound for a tremendous clinic/concert experience with these outstanding educators and musicians.

Kevin Sedatole Symphonic Band Kevin Sedatole serves as Director of Bands, Professor of Music, and Chair of the conducting area at the Michigan State University College of Music. At MSU, Sedatole serves as administrator of the band program totaling over 700 students. This includes the Wind Symphony, Symphony Band, Concert Band, Chamber Winds, Campus Bands, Spartan Marching Band, and Spartan Brass. He also guides the graduate windconducting program in addition to conducting the MSU Wind Symphony. Prior to joining MSU, he was director of bands and associate professor of conducting at Baylor University.

Previous to his appointment at Baylor he served as associate director of bands at UT/Austin and director of the Longhorn Band, and as associate director of bands at the University of Michigan and Stephen F. Austin State University.

Sedatole has conducted performances for the College Band Directors National Association, American Bandmasters

24 Southwestern Musician | October 2016

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Association, Texas Music Educators Association, Michigan School Band and Orchestra Association, and the World Association of Symphonic Bands and Ensembles, as well as performances in Carnegie Hall. He has conducted across the U.S., Europe, and Japan. The MSU Wind Symphony, under Sedatole’s direction, has given featured performances at the Midwest International Band and Orchestra Clinic, the convention of the College Band Directors’ National Association, the prestigious American Bandmasters Association convention, and Carnegie Hall.

Sedatole serves on the summer faculty of the Interlochen Music Camp and the Board of Directors of the Midwest International Band and Orchestra Clinic.

Additionally, he serves as vice president of the north central division of the College Band Directors National Association.

Cynthia Johnston Turner Concert Band Cy nthia Johnston Turner is in demand as a conductor and ensemble clinician in the U.S., Latin America, Europe, and Canada. Before her appointment as Director of Bands at the Hodgson School at the University of Georgia, Turner was Director of Wind Ensembles at Cornell University. Earlier in her career she was a high school music educator, and she taught middle school beginning instrumental music in Toronto and choral music in Switzerland.

A Canadian, Turner completed her bachelor of music and bachelor of education degrees at Queens University and her master of music in music education and conducting at the University of Victoria.

She received the National Leadership in Education Award (Canada), the Excellence in Education Award (Ontario Secondary School Teachers Federation), the Merrill Presidential Scholars award and Kaplan Distinguished Faculty Fellowship at Cornell, and the Marion Drysdale Leadership Award. She is also the recipient of the Donald A. Reick Memorial Award for research with wearable technologies and music pedagogy, the American Prize for innovative programming with wind bands, and has presented concerts and clinics at numerous CBDNA, WASBE, and Midwest conferences.

26 Southwestern Musician | October 2016

As Director of Bands and Professor of Music at the Hodgson School, Turner conducts the Wind Ensemble, teaches conducting, leads the MM and DMA programs in conducting, and oversees the entire Hodgson band program.

Rodney Dorsey 5A Symphonic Band Rodney Dorsey is Associate Professor of Music and Director of Bands at the University of Oregon, where he teaches graduate courses in wind conducting and repertoire and conducts the Oregon Wind Ensemble.

Dorsey comes to Oregon from a position as the Associate Director of Bands at the University of Michigan, where he conducted the Concert Band, taught undergraduate conducting, and conducted the Michigan Youth Band. Prior to this appointment at UM, Dorsey served on the faculties of DePaul and Northwestern Universities.

Dorsey studied conducting with Mallory Thompson, John P. Paynter, and James Croft. He was a clarinet student of Fred Ormand and Frank Kowalsky.

Dorsey gained extensive experience teaching in the public schools of Florida and Georgia.

Ensembles under Dorsey’s direction have performed at several state and national events including the Bands of America National Concert Band Festival.

He is active as a guest conductor, clinician, and adjudicator in the U.S., Canada, Hungary, and Bulgaria.

Dorsey holds a number of professional memberships that include CBDNA, NAf ME, Oregon Music Educators Association, Oregon Band Directors Association, Kappa Kappa Psi, Tau Beta Sigma (honorary), Phi Mu Alpha Sinfonia, and Alpha Phi Alpha Fraternity Incorporated. Dorsey is also a member of the Midwest Clinic Board of Directors and an elected member of the American Bandmasters Association.

Denis DiBlasio Jazz Ensemble I Baritone saxophone and flute artist Denis DiBlasio directs the jazz program at Rowan University in New Jersey. He is also

the Executive Director of the Maynard Ferguson Institute of Jazz at Rowan. With nine recordings of his own along with published texts, arrangements, and compositions, DiBlasio is known throughout the world.

After five years as music director with Maynard Ferguson, along with touring on his own, DiBlasio continues to travel around the world performing and teaching. His approach of keeping things simple, informative, and positive keeps his schedule extremely busy, booking dates sometimes three years in advance.

His inspirational connection with young musicians is what makes a DiBlasio clinic so special. Keeping things attainable and fun make up the foundation of his friendly approach. It’s what some people have termed edutainment—why not?

David Caffey Jazz Ensemble II David Caffey is an internationally recognized jazz educator and composer.

He has won awards for musical composition from ASCAP and the National Association of Jazz Educators. He served as President of the International Association for Jazz Education from 2004 to 2006 and is a Founding Member of Jazz Education Network and the International Society of Jazz Arrangers and Composers. He has appeared as a clinician, adjudicator, and guest conductor at music festivals, conferences, universities, and schools throughout the U.S., in Canada, and in Europe.

He was inducted into the California Jazz Education Hall of Fame in 2011.

Currently, all of his published compositions and arrangements are available from UNC Jazz Press.

Caffey is presently Professor of Jazz Studies at the University of Northern Colorado, where he served as Director of the School of Music from 2005 to 2013.

His work as a college professor spans over 40 years and includes previous appointments in jazz studies at California State University/Los Angeles, Sam Houston State University, and the University of Denver. His degrees are from the University of Texas at Austin.

Texas Lutheran University School of Music

SCHOLARSHIP AUDITIONS Scholarships are available for both music and non-music majors.

These awards are intended to provide recognition for scholarship and talent in the study of music.

For specific qualifications for each award, visit

www.tlu.edu/music-scholarships.

SCHOLARSHIP AUDITION DATES: Sunday, February 19, 2017 Saturday, March 4, 2017 Sunday, April 9, 2017 Sunday, May 21, 2017

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

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

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Individual audition dates may be requested if necessary.

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

SCHOOL OF MUSIC DEPARTMENT HEADS

Jeanne Gnecco Instructor, Flute

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

Elizabeth Lee Asst. Professor, Cello Patricia Lee Asst. Professor, Piano Wei Chen Lin Asst. Professor, Piano

Beth Bronk Director of Bands bbronk@tlu.edu

Deborah Mayes Accompanist

Shaaron Conoly Director of Vocal Studies sconoly@tlu.edu

Daniel Scott McDonald Instructor, Saxophone & Jazz Band

Eric Daub Director of Piano Studies edaub@tlu.edu

Carla McElhaney Asst. Professor, Collaborative Pianist

Eliza Jeffords Director of Strings ejeffords@tlu.edu

David Milburn Instructor, Double Bass

FACULTY Mark Ackerman Instructor, Oboe

Ilan Morgenstern Instructor, Low Brass Joseph Palmer Asst. Professor, Guitar

Adam Bedell Instructor, Percussion

Keith Robinson Instructor, Tuba & Music Education

Mary Ellen Cavitt Asst. Professor, Horn

Jill Rodriguez Instructor, General Music

Carol Chambers Instructor, Music Education

Robert Mark Rogers Asst. Professor, Bassoon

Ashley Cooper Instructor, Violin

Eric Siu Asst. Professor, Violin

Joseph Cooper Asst. Professor, Trumpet

Robert Warren Asst. Professor, Piano, General Music & Music History

Paula Corley Instructor, Clarinet

www.tlu.edu/music

EXTREME TEACHING

by Karen Cross

I

n our September issue, we featured part one of this report on the Urban Music Summer Dialogue in which 16 TMEA members from across the state met to discuss unique challenges they face and success strategies they employ in their urban school music education programs. Last month’s installment offered their conclusions about how to build trust with students in urban settings and how to reach them pedagogically through culturally relevant instruction. This month, we offer their feedback about how to motivate students and set goals for urban music programs, as well as how to gain parent and community support. As mentioned last month, while these strategies are provided by teachers in urban schools, many will apply to those teaching in other settings as well.

ARE GOALS AND INDICATORS OF SUCCESS DIFFERENT IN THE URBAN SETTING? Like good teaching strategies, many goals that music teachers in urban settings have for their students are similar to those in any program across the state. However, there are some differences in the approach and focus of urban school teachers. In these settings, goals need to foster consistent growth and development and provide ample opportunities for continued celebration of incremental achievements.

Often in urban school settings, we teach students who arrive 28 Southwestern Musician | October 2016

Part Two: Conclusions and Strategies Documented During TMEA’s Urban Music Summer Dialogue having little or no experience with setting goals and working toward them. Many don’t have supportive families who would champion their individual achievements. Our communities are characterized by diverse cultures, language barriers, highly transient populations, financial hardship, lack of opportunity or affordability of private lessons, lack of transportation, student work schedules, conflicts with afterschool rehearsals and performances, safety issues, limited access to needed musical supplies, cultural differences in discipline methods, and much more. In this setting, we often teach students who have had little experience with personal success. Given that reality, it’s important to celebrate small steps that are meaningful parts of each goal.

Sometimes our students also need to be taught to enjoy and support the success of others. As in other distinctions with urban education, it’s not that this principle is unique, it’s the degree to which it is critical that is.

Urban teachers could consider the following as indicators of a successful music program: student engagement, student enrollment in programs, parent support and appreciation of programs, student transfer of knowledge and use in other areas of life, improved attendance, established discipline, respect and support of fellow students, increased solo/ensemble participation, and improvement in UIL scores. This is not to say that the focus should be just on what’s realistic. Regardless of the environmental

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factors, we believe it’s critical to focus on what’s possible.

We must educate students, parents, and administrators about possibilities and maintain high standards along the way.

This will allow us to continually elevate our goals and present greater challenges to our students as they begin to realize they can take risks and that they can succeed in this safe, supportive environment. At this point, we are growing self-sufficient and independent musicians practicing their skills and making connections in the community.

MOTIVATION Students can be motivated extrinsically through positive reinforcements like a point system toward a desired activity and intrinsically through having success in a meaningful way, or a meaningful connec-

tion with teachers and peers. Motivating students is as easy as challenging them to attainable goals and recognizing them for attaining the goal. However, in the urban setting, it’s important to realize that until basic needs such as safety, security, respect, and love are met, we won’t be able to use other means of motivation. Once we establish this environment, we then need to create incremental objectives to help our students quickly experience success to help them develop a desire for that experience to continue.

An important distinction in many urban schools is a lack of school pride.

Often in urban settings, winning for your school doesn’t carry the same importance as it does in settings where school pride is paramount. Given that, urban teachers must seek new personal and innovative

ways to motivate urban students.

BUILDING PARENT AND COMMUNITY SUPPORT In any situation, teachers need to understand their students and their families and how best to connect with and gain support from their students’ parents. Monolingual parents often feel uncomfortable serving where they find it difficult to communicate. Low-income parents are often willing to volunteer and provide items for events but find it difficult to provide financial support. Affluent parents sometimes want to provide financial support but are reluctant to give up time out of their schedules for volunteer service.

Regardless of financial status, it is important that we offer every parent the opportunity to contribute in a meaningful way. If they can’t give financially,

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30 Southwestern Musician | October 2016

they might be able to give time and talent. Rather than requesting funds, identify your program’s very specific needs, including items that could be purchased and items that require labor. Have students translate so this list can be presented in their parents’ language(s). Also, ask students to come up with other ideas to help nurture parent relationships.

We must educate parents along with the students. Some parents don’t come to us understanding the importance of attending their children’s performances or having experience with concert etiquette. They may attend only when the musical style itself interests them. Each performance is an opportunity to educate students and the community about the importance of music education, varied musical genres, and etiquette appropriate for this event. We can also use this time to demonstrate to parents how important their children are to us and to invite them to be a part of our team to ensure their child’s success.

We can also build this relationship by educating parents about the importance of music education in the overall development of their child. Distribute information about the many benefits of your program as it relates to what students will be able to use in the 21st-century workforce. Investigate what college recruiters find marketable on resumes for colleges.

Many universities don’t consider GPAs for automatic acceptance into their campuses. Many institutions are first seeking creative and innovative thinkers. Do parents know this? Be your best advertising agency! (Go to www.tmea.org/ advocacymaterials for print-ready advocacy materials.)

When we build this rapport and trust with our students’ parents, a sense of program ownership will become contagious.

The community will get involved as the parents spread the word, and our financial challenges can be overcome by involving others and inviting them to help however they can.

STRATEGIES FOR MOTIVATING THE URBAN STUDENT • Many of today’s students do not eat well, especially during the weekend.

Food offered for weekend events is an excellent motivator.

• As we learn from Steven Covey, we

must make deposits into our students’ emotional accounts before we can expect to make withdrawals.

• As the teacher, always be the role model for your students. Dressing professionally is a very simple way to demonstrate to your students the importance of this time in school and of your role as teacher.

• If your students don’t typically dress up, bring a box of ties and teach your boys to tie a necktie.

• Stickers are magic and are effective at almost any age!

• Host social events that are specific for each class or ensemble to make sure each feels as important as the other.

• Keep small prizes such as pencils, plastic bugs, stickers, etc. in a treasure box for students to choose from after reaching a goal.

• Offer lunch with the teacher for a major reward.

• Ring a special bell to celebrate accomplishments.

• Combine social activities with musical activities such as a practice lock-in.

• Get small gift cards as incentives for students.

• Recognize students in the morning announcements.

• Publicize student successes in local media and social media.

• Create a leadership logo/insignia for your ensemble leadership.

PARENT INVOLVEMENT STRATEGIES • Students can design and send invitations to concerts and special events to parents.

• Keep students after school for an evening concert and feed them.

• Set concert times that enable parents to attend based on prevailing work schedules.

• Bring in alumni groups to perform at a concert.

• Create an incentive by giving a student a 100 grade when parents, friends, or neighbors attend the concert (provide a sign-in to account for it).

• Present a “Short and Sweet Concert” the third week of school. All the Southwestern Musician | October 2016 31

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groups play two selections, and parents bring desserts. The concert is about 30 minutes total then everyone socializes over dessert. The program affords an excellent opportunity for parent orientation to the program offerings and needs, providing a quick buy-in experience for the parents.

• When you present information to parents, offer it in their language.

Perhaps a bilingual parent or student can help you with translations if needed.

• Provide bilingual support for parent meetings, handbook, and other communications, and have a bilingual greeter at meetings and performances.

• Have an “Informance” for your first concert in the first few weeks of school. Perform a bit of music, concentrate on parent information, and use this time for getting to know your families.

• Have parent meetings as part of each concert since they are already gathered.

alternate weeks to distribute the cost).

• Instead of a spring festival, visit a college, have a clinician work with students there and then do a fun event.

• Host a marching exhibition with a family picnic to increase parent support and community connections.

• Support your PTA and they will support you. Involve parents in your projects so they see the benefit of your programs and understand the need for resources. They will advocate for you.

• At the elementary level, all students perform at all PTA meetings. This will increase parent attendance.

• Parents—no matter their language— understand tone, so always communicate professionally and consistently regardless of the parent’s background or language.

Don’t compare yours to other programs. Create your own paradigm based on your unique situation—the students you have today, their culture, your col-

leagues, administrators, funding, community, and more.

EXTREME TEACHING As we mentioned in last month’s installment of this article, many of the strategies presented are similar across all school situations; however, urban school educators have stressed that in their environment, they often find the challenges and teaching needs to be at an extreme level. Our thanks go to the 16 TMEA members who offered their experience and expertise to reveal more about the challenges and the strategies that have proven successful for them. TMEA will offer more opportunities to explore urban music education during the 2017 TMEA Clinic/Convention, including a conversation with Kate Fizgerald, author of Urban Music Education: A Practical Guide for Teachers. Be sure to check the schedule for those sessions, attend, and offer your knowledge to help other members who are committed to this extreme teaching.

We will also continue to offer content in future issues of this magazine.

• Regardless of income level, our students and their parents do have cell phones and they can often be the best means of communication.

• Use text messages or make calls— vary the means of your communications to connect with more parents (the Remind 101 is a helpful app that allows you to text without using your personal number).

• Use Sign-Up Genius and send a link through a text for it to all parents to increase their participation—make it as easy as possible to commit to help.

• Ask for help with specific jobs and specific items rather than asking for money.

• Get creative to involve more parents.

Ask them to grill hot dogs at an event.

• Use parents as resources (e.g., having a taco truck at an event was more successful than traditional spaghetti dinner and it built up pride with the parent who runs the truck).

• Get creative in response to financial constraints (e.g., have two or three students share a private lesson slot or Southwestern Musician | October 2016 33

B Y

P E N N Y

ORCHESTRA NOTES

M E I T Z

Following a conductor: part one

T

October—Renew your TMEA membership online and preregister for the convention.

October 4, 6 a.m. CT—TMEA convention online housing reservation system opens.

October 22–23—First and second round judging of HS String Honor Orchestra CDs. October 29—Protected date to record for All-State String auditions.

November 12–13—First and second round All-State CD judging.

November 15—TMEA scholarship online application deadline.

December 31—TMEA mail/fax convention preregistration deadline.

January 7—Area Band and Vocal auditions.

January 19—TMEA online early registration deadline.

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

raining students to watch and follow a conductor is one of the most important elements of teaching a music ensemble. It is an amazingly complex skill that can be difficult to teach and to learn. Teaching students to follow a conductor is a two-way street, and one of those directions is giving our students something to follow. Have you heard the expression “What they see is what you get”?

A common thought from several orchestra directors addresses the relative lack of training most of us received as part of our undergraduate course study. In recent years, several excellent conducting workshops have become available during the summer for orchestra teachers who want to deepen and fine-tune their baton technique. A few districts and Regions have sponsored conducting sessions with a guest clinician as part of staff development. Look for opportunities like these if you are interested in deepening your conducting skills and vocabulary.

Here are some ideas to quickly put to use, gleaned from experienced and respected colleagues who have a particular interest in conducting: The first steps for young students include interpreting and following the baton and basic beat patterns. Teaching students how to conduct the fundamental patterns can help with understanding and interpreting a conductor’s beat pattern. This goes hand in hand with teaching students to maintain a steady internal pulse. Several responders to my questions about conducting suggested we train the students to be responsible for the pulse.

One game that helps strengthen a steady internal pulse is a counting game.

Tell the class the number they are counting to. The conductor/teacher begins the count aloud, and the students continue the sequence silently and without external movement, saying the final number aloud. If everyone’s internal

Young players don’t always connect the movements of a baton to the music they are playing.

Southwestern Musician | October 2016 35

pulse is the same, the final number will be proclaimed at the same time. The exercise exchange might go like this: Teacher: We are going to count to 20.

I will say the first four numbers aloud in a steady pulse. You are to continue counting to that pulse silently, and when you get to 20, say that number aloud. Refrain from foot tapping or any other outward expression of the beat.

You can make the count go to a different number, vary the tempo, or count fewer or more numbers out loud. Slow tempos are really difficult and a good opportunity to illustrate the value of subdividing.

Another strategy to help young stu-

dents learn to follow a conductor is to have them respond to the beat verbally instead of with their instruments. You can have them say ta on quarter notes while you conduct a beat pattern at a steady tempo. Move to half notes, whole notes, and subdivisions of eighths, triplets and sixteenths, all while conducting a steady beat. Students will likely learn this very quickly, at which point you can begin to vary the tempo.

Young players don’t always connect the movements of a baton to the music they are playing. To teach this skill, try playing your instrument from the podium with your orchestra, asking the students to follow your bow. This will probably be fairly

easy even for a young orchestra. Exchange your instrument and bow for your baton and suggest the students follow the baton in the same way they followed the bow. I believe this also helps build better control over bow speed, and it certainly strengthens the connection between the observed style that is conducted and how it is interpreted.

We teacher/conductors need to practice conducting the music. We expect our students to work on their music outside of class. Should we expect less of ourselves? Challenge yourself to know your scores so well that they are memorized.

Practice conducting by yourself: staccato, legato, crescendo, diminuendo, etc. Work on developing independence of hands so your students have something interesting to watch. If you were fortunate enough to attend Anthony Maiello’s conducting workshop at TODA, you likely came away with several useful conducting exercises to help refine technique and control.

I have included only a portion of the ideas I received from friends and colleagues. The suggestions in this article are most appropriate for teaching young players with little or no ensemble experience

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about following a conductor. Look for part 2 with suggestions for more advanced players and ensembles in the November issue. And I welcome ideas from you to be included in part 2!

Clinic/Convention Update I’m pleased to share with you information about our outstanding All-State Orchestra Conductors who will be leading our state’s best orchestra students in February. Along with attending the concerts, know that All-State rehearsals are open and are often valuable learning experiences for teachers.

If you haven’t yet, be sure to preregister for the convention. No other music educators convention offers you as many opportunities for professional development, through hundreds of workshops and performances. Go to www.tmea.org/ convention for more details about this amazing event and to register.

Don Schleicher Symphony Orchestra Now celebrating his 21st season as Music Director and Conductor of the University of I l l i noi s Sy mphony Orchestra, Donald Schleicher has also served as Music Director of the Quad City Symphony Orchestra and as Music Director and Principal Conductor/Artistic Director for the Pine Mountain Music Festival (PMMF).

Schleicher has conducted the National Philharmonic of the Ukraine, the Guiyang (China) Symphony, the Gwangju (South Korea) Symphony, the Inchon (South Korea) Philharmonic, the Daegu (South Korea) Symphony Orchestra, the Orquesta Filarmonica de la UNAM of Mexico City, the South Dakota Symphony, and the orchestras of Bridgeport, Tallahassee, and Lansing, Mich. He has also appeared as a guest conductor at the Great Lakes Chamber Music Festival in Detroit. This year he was a guest conductor of the Nairobi Orchestra in Kenya.

He is frequently invited to lead performances or provide conducting master classes at many music schools such as the Oberlin Conservatory, Eastman School of Music, Baylor University, University of Minnesota, Ithaca College, Ohio State University, the University of Missouri,

and Shepherd School of Music at Rice University. As an enthusiastic advocate of public school music education, Schleicher has conducted all-state orchestras, festivals, and youth orchestras in nearly every state of the U.S. He is also active as a clinician for public school music educators.

As a dedicated advocate of contemporary music, Schleicher has collaborated with leading composers including Chen Yi, Michael Daugherty, and Frank Ticheli. In December of 2014, his collaboration with Augusta Read Thomas led to a recording project of her works now available on Nimbus Records.

Joseph Young Philharmonic Orchestra Increasingly recognized as one of the most gifted conductors of his generation, Joseph Young is currently the Assistant Conductor of the Atlanta Symphony.

In his role, Young conducts more than 50 concerts per season with the Atlanta Symphony, which include programs on the Delta Classical Series, Concerts for Young People and Families, and various other concerts geared toward specific audiences in the community. Young also serves as the Music Director of the Atlanta Symphony Youth Orchestra, where he is the driving force behind the ensemble’s artistic growth. Previous appointments have included Resident Conductor of the Phoenix Symphony, where he made his subscription debut in the 2011–12 season, and the League of American Orchestras Conducting Fellow with Buffalo Philharmonic and Baltimore Symphony.

Young made his major American orchestral debut in January 2008 with the Baltimore Symphony Orchestra, and has since appeared with the Saint Louis Symphony, Buffalo Philharmonic, Colorado Symphony, Charleston Symphony, Phoenix Symphony, Bamberger Symphoniker, Spoleto Festival Orchestra, Orquestra Sinfónica do Porto Casa da Música, Orquesta Sinfonica y Coro de RTVE (Madrid), and Chicago Sinfonietta, among others. The 2016–2017 season includes debuts with the Guanajuato Symphony Orchestra (Mexico), New World Symphony Orchestra, and Fayetteville Symphony; he will also return to the Orquesta

Sinfonica y Coro de RTVE (Madrid), Little Orchestra Society and the Atlanta Symphony in subscription performances.

Young earned his bachelor’s degree in music education at the University of South Carolina, and completed graduate studies with Gustav Meier and Markand Thakar at the Peabody Conservatory in 2009, earning an artist’s diploma in conducting.

Emily Freeman Brown String Orchestra Emily Freeman Brown is Music Director and Conductor of the Bowling Green Philharmonia and Opera Theater at Bowling Green State University in Ohio.

The first woman to receive a doctorate in orchestral conducting at the Eastman School of Music, Brown has appeared as conductor with orchestras in the U.S., Europe, Central Asia, and South America, including the Rochester Philharmonic, Charlotte Symphony Orchestra, Syracuse and Toledo Symphonies, Cleveland Chamber Symphony, Eastman Virtuosi, Göttinger Symphonie Orchester in Germany, Latvian National Symphony Orchestra, National Symphony of Chile and Bartók Ensemble, Sibiu State Philharmonic Orchestra in Romania, Macedonia National Symphony Orchestra, National Soloists Orchestra in Astana, Conservatory Symphony Orchestra of Almaty, Kazakhstan, and American Festival of the Arts, Interlochen, and Chatauqua summer music institutes, as well as several U.S. all-state orchestras.

Brown has recorded for Naxos Records and Albany Records (with the Bowling Green Philharmonia) in addition to Opus One Records. She served as Associate Conductor of the Eastman Philharmonia and Conductor for the Eastman Opera Theater and was a winner of the internationally known Affiliate Artists’ Conductor’s Program.

A published author, articles have appeared in the BACH journal and the Journal of the Conductors Guild. She served as President of the Conductors Guild, Inc. from 2003 to 2005.

Brown studied conducting and cello at the Royal College of Music in London, England, where she was twice winner of the Sir Adrian Boult Conducting Prize.

Southwestern Musician | October 2016 39

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Do We Use Music to Create Exceptional Students?

by Paul Worosello

A

s a college student learning to be a band director at West Texas State University, I had the pleasure of taking choral conducting from Dr. Hugh Sanders.

In addition to learning different aspects of the art of music, I was profoundly affected by a question he asked on multiple occasions: “Do you want to use your students to create exceptional music or use music to create exceptional students?”

This question that I first heard over 40 years ago recently occupied my mind after learning about a dedicated and highly accomplished high school musician who decided she could no longer be part of her school band because of the amount of time required for marching band participation. Such a circumstance is certainly disheartening.

As I thought about this quandary, I began focusing on this wonderful gift of music that enriches our lives. I also reflected on how easy it can be for us to lose focus on what is important in this profession and what can result when that happens. Take for example the number of people who develop serious medical issues exacerbated by job stress or who burn out and leave the job, those who no longer can find time for their families, and those whose misguided actions were motivated by an unhealthy drive to succeed (as defined by winning). These problems seem to occur most when we make decisions that tend to benefit us as individuals with a rationalization that they are best for our students.

Watching the Summer Olympics reminded me about what is so right with our activity and what can be so wrong. The dedication and accomplishments of these best-of-the-best athletes from around the world is incredibly inspiring. They remind me of some of the best music students I’ve encountered. As teachers, we must nurture and cultivate our students’ ambitions. We must provide safe environments that don’t stifle their endeavors, and

our students must realize that failure is part of the pathway to achievement. We must also be mindful about our demands on our students’ time to ensure we don’t extinguish their passion in the process. We should constantly reinforce the importance of ethics, integrity, and high standards for good character.

And that takes us back to the Olympics. While Olympians continue to inspire us, in these most recent games, we witnessed the ban of many Russian athletes based on their governmentsanctioned doping program. While this scandal is a much more extreme case of winning by any means, we must admit that even in our profession, a drive to win has led some to unethical practices. In these cases, individuals lost sight of the journey and focused only on a specific goal. Success became measured solely by the end product, not by the growth of individual students and the ensemble along the way. They used students to create performances—some of exceptional merit—and yet, something was missing.

In the ’90s I taught at the Longhorn Music Camp. Wind ensemble members (mainly All-State students) met with camp instructors one evening to discuss anything about their musical experiences, career aspirations, etc. I vividly remember a senior clarinet player discussing her Honor Band experience. It started during summer band with memorizing lines of a spring contest piece, from the beginning to letter A. She recounted that by the end of the year, the students hated it. She said, “The only person who cared about Honor Band was the director. I hope I never hear that music again!” Her ensemble was in fact selected as an Honor Band, but at what cost? While the goal was admirable, the process resulted in her loathing some of the greatest musical compositions of the twentieth century. Would success have occurred if the process and use of time had been different? Is the goal or Southwestern Musician | October 2016 41

the lifelong love of music most important?

Where is balance achieved?

Often someone’s questionable approach or imbalance in process leads to the creation of rules intended to ensure fair participation by all. Decades ago, bands were allowed to record as many times as they wanted to make an Honor Band submission recording. As a result, that elusive perfect performance might be the next one, whether it was the fifth concert, the fifteenth, or a hastily assembled thirtieth concert for the custodial staff.

These undue demands on student time resulted in some of the rules we have today. Because of similar excesses, rules were written to limit time students can spend in marching band rehearsals outside the school day.

Wherever there are rules, we can know there will be some who look for ways to reinterpret or stretch them to gain an edge on their competition. Is that wrong? Not necessarily, if the spirit of the rule isn’t breached. We all need to attempt to do it better, faster. But we also need to ask ourselves who benefits the most—the teacher or the student? I propose that the greatest balance occurs when exceptional student growth reigns supreme. The teacher is then the beneficiary of the students’ achievement—the realization that music is an indispensable part of their lives and the students’ love and appreciation that happens when they observe in their teachers the character that will successfully lead

them through the minefields of life.

As we examine the nature of our competitions, I believe it’s important to recognize that competitive processes in Texas have been a foundational part in our development of successful music students.

Competitions can be positive and effective motivators for musical development.

It is because of this great potential that we should constantly examine them to ensure they continue to offer the experience for which they were originally intended. I worked with a private teacher once who believed that the hundreds of hours spent on marching band was a complete waste of time with no musical value. He didn’t, however, recognize the irony of many students required to spend hundreds of hours over six months on three audition etudes, with little to no musical development. Each case calls for an examination of our process and the time demands we place on students in their preparations. We should always seek better ways to structure competitions and our participation in them so they support the musical development of all students.

Over the past 40 years, I have repeatedly heard Dr. Gary Garner say the following with respect to teaching: “First, do no harm.” As a new teacher in 1976, I thought I understood what he meant.

Experience has given me a more profound understanding of the depth, gravity, and priority of that statement. As teachers, we have the opportunity to affect so many

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different aspects of our students’ lives. We are custodians of immense responsibility, and sometimes our response to competition interferes with that obligation and trust.

There are no easy answers to these issues. Where do we draw the line with respect to the amount of time we demand of our students? This has been debated before, and will continue to be deliberated as long as we strive to attempt the best we are capable of achieving. I believe we must constantly question ourselves and our approach and look to colleagues across our state who are doing it well. These are just a few of the questions that could help us examine our perspective: • Am I giving musicians the best experience possible?

• Am I supporting student opportunity to explore interests outside of my program?

• Am I creating a stable and safe environment that nurtures development, welcomes failure, and teaches a lifelong appreciation of music?

• Are our teaching methods above reproach?

• Am I offering students the opportunity to experience a varied repertoire and develop musically through that?

• Is my job balanced with other priorities in my life?

Don’t do something just because it has worked in the past or just because other programs have appeared to have success with it. And don’t continue to do the same thing expecting different results. Figure out a better or faster way to do what’s best for your students. When properly utilized, competition will continue to yield far more positive than negative results, and through that, our responsibility remains to cultivate a passion and lasting love for this unique gift.

We must remember that time is our most important resource. How we spend it reflects our beliefs. Each of us must decide whether we want to use our students to create exceptional music, or use music to create exceptional students. I believe the latter allows the opportunity for both to occur.

Paul Worosello retired from band directing in 2013, after teaching 37 years, 36 in Klein ISD, with last 34 at Klein Forest HS.

2017

2017 18

25

VOCAL NOTES

B Y

R O B E R T

H O R T O N

Thermometer or thermostat?

S

ocial media—love it or hate it, it’s here to stay.

Facebook, Twitter, Instagram, Snapchat, Tumblr, and the list keeps going. One of the benefits of social media is the opportunity to stay connected with each other, when time and geography keep us apart.

Being able to see what is going on in the lives of our friends and colleagues can really keep us connected. However, all of this connectedness does have a cost. I don’t know about you, but I have a hard time keeping up with the constant barrage of information, and feeling the need to update. I do enjoy following the leaders and programs I admire and respect. Often, I am inspired and reminded of the enrichment that music brings to our lives when I see it from others. It can be a daily dose of professional development. However, keeping up with it is an intentional act!

Social media has parallels to our lives. If social media offers a glimpse into the lives of others, the richness of live human interaction is certainly more complicated. Many factors definitely enhance our message in communication. Facial expression, tone of voice, and body language are all key components of communication. These factors can clarify or complicate what we are trying to convey.

My main focus here, though, is about being intentional with our messages. I’d like to offer some questions that have guided my thinking about communication: Did you say what you meant? Did the other person decipher it as you intended? What is the way that you want to be perceived? We have the wonderful choice as to how we act and react in situations, and choices are always guided by values. Simply stated, are you a thermometer, or are you the thermostat? I hope that this simple analogy allows us to consider the choices

Make the choice that your interactions will elevate others and use the wonderful gift of music to make better people.

44 Southwestern Musician | October 2016

October—Renew your TMEA membership online and preregister for the convention.

October 4, 6 a.m. CT—TMEA convention online housing reservation system opens.

November 15—TMEA scholarship online application deadline.

December 31—TMEA mail/fax convention preregistration deadline.

January 7—Area Band and Vocal auditions.

January 19—TMEA online early registration deadline.

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

we make in our interactions with others.

A thermometer is a very useful tool. It can measure how cold or hot it is in our rehearsal room. It can reveal that we have a fever, whether our meat is cooked to a safe temperature, and more. Without an accurate measurement, and good information, we cannot make good decisions.

However, a thermometer is reactive. It is limited to being able take the temperature of a situation. We choose what to do with that information.

I encourage you to consider going beyond the thermometer function, and

aspire to be the thermostat. As important as it is to have accurate information about situations, that information is not the full picture. Information is only useful when it leads to action. As a resident of what some consider the world’s most air-conditioned city, Houston, I really appreciate the thermostat. It keeps the system working until the room is at a desired temperature. When the temperature changes, the thermostat returns the temperature to a predetermined level. A thermostat can be wonderfully analogous for how we interact with others. We

choose the temperature of our room, and the climate. We have the responsibility to make it inviting, comfortable, and safe.

We also have the responsibility to continually monitor our environment, and make necessary adjustments.

If you teach in the public schools, the temperature is one of the domains of the new teacher evaluation system, T-TESS. Specifically the Learning Environment, Domain 3: • Classroom Environment, Routines and Procedures (Dimension 3.1): The teacher organizes a safe, accessible, and efficient classroom.

• Managing Student Behavior (Dimension 3.2): The teacher establishes, communicates, and maintains clear expectations for student behavior.

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• Classroom Culture (Dimension 3.3): The teacher leads a mutually respectful and collaborative class of actively engaged learners.

This idea that we are in charge of our climate and the effect it has on others is not new. One of my favorite quotes, widely attributed to Goethe, is “I have come to the frightening conclusion that I am the decisive element. It is my personal approach that creates the climate. It is my daily mood that makes the weather.

I possess tremendous power to make life miserable or joyous. I can be a tool of torture or an instrument of inspiration, I can humiliate or humor, hurt or heal. In all situations, it is my response that decides whether a crisis is escalated or de-escalated, and a person is humanized or de-humanized. If we treat people as they are, we make them worse. If we treat people as they ought to be, we help them become what they are capable of becoming.”

I challenge you to be the thermostat.

Make the choice that your interactions will elevate others and use the wonderful gift of music to make better people.

Clinic/Convention Update I hope you read in last month’s issue the exciting news that our 2017 President’s Concert will feature The Real Group from Stockholm, Sweden. Be sure you purchase your $10 tickets to be part of this incredible start to our convention experience!

Go to www.tmea.org/presidentsconcert

for more information.

I am so excited to introduce our 2017 All-State Conductors. The experiences they will share with our students will be life-changing. As you read about them, remember that during our convention, you can attend their rehearsals and learn from them in action. If you haven’t already registered for the convention, do it today! Also, be sure to reserve your hotel through the discounted convention hotel reservation system. That system is available October 4 at 6 A.M. CT. Jonathan Reed Mixed Choir Jonathan Reed is Associate Professor of Music and Associate Director of Choral Activities at Michigan State University School of Music where he conducts the State Singers, the Men’s Glee Club and teaches courses in conducting at both the undergraduate and graduate levels. In 1999, the Associated Students of Michigan State University (ASMSU) presented him with the Outstanding Faculty Award. He is a contributing author to GIA’s The School Choral Program, and is series advisor for Boosey and Hawkes choral series entitled In Low Voice.

Reed enjoys an active career as a clinician/conductor, conducting festivals and all-state choruses throughout the U.S., as well as honor choirs for the northwest, western, and southern divisions of the American Choral Directors Association.

His choirs have performed at divisional and national conferences of ACDA. He has presented interest sessions at two national conferences of ACDA and at numerous state ACDA conferences. He has also served ACDA as a state newsletter editor, a state president, and divisional and national chair of the Repertoire and Standards committee on Male Chorus.

Kristina Caswell MacMullen Treble Choir Serving as Assistant Professor of Music and Associate Director of Choral Studies at the Ohio State University, Kristina Caswell MacMullen conducts the Symphonic Choir and the Women’s Glee Club and

instructs undergraduate and graduate students in the areas of conducting and choral pedagogy.

Caswell MacMullen earned a bachelor of music education and a master of music degree from Michigan State University.

She completed the doctorate of musical arts at Texas Tech University. Prior to her appointment at the Ohio State University, she enjoyed a diverse career as a public school teacher, interacting with students in rural, suburban, and urban settings, elementary through high school. She has presented sessions at state, regional, national, and international conferences.

As an active adjudicator and clinician, Caswell MacMullen has conducted allstate and honor choirs throughout the U.S. In 2011, she was runner-up in the National American Choral Director’s Association conducting competition and named an alternate Fulbright Scholar.

She is featured on the DVD ConductingTeaching: Real World Strategies for Success published by GIA (2009), and her editions for treble choir are published by Musicatus Press, Boosey & Hawkes, and MusicSpoke.

Timothy Peter Tenor-Bass Choir Timothy Peter is director of choral activities at Stetson University. He is a native of Minnesota, received his undergraduate degree from Luther College and completed his doctorate of musical arts degree at the University of Arizona. Before coming to Stetson University, he was professor of music at Luther College and served as the head of the music department. He has been a high school choral director and church musician in Minnesota, Iowa, Arizona, and Florida. Having joined the faculty of the Stetson University School of Music in the fall of 2012, Peter conducts the Stetson Concert Choir, the university’s touring SATB ensemble consisting of select upper-class singers. In addition, he conducts the Stetson Men and teaches choral conducting and choral repertoire courses.

Peter is involved in the National Collegiate Choral Organization and the American Choral Directors Association, having held positions as the divisional chair for repertoire and standards for college and universities and the state and

divisional chair for men’s choirs.

His choirs were selected to perform at the 2011 National ACDA Conference in Chicago and at four Divisional NC-ACDA conventions held in Minneapolis, Minn., Sioux Falls, S.D., and Madison, Wis. His off-campus teaching, adjudicating, and conducting includes numerous appearances as an all-state conductor and festival clinician throughout the U.S. Sandra Snow Small School Mixed Choir As conductor, teacher, and scholar, Sandra Snow’s work spans a wide variety of ages, abilities, and music.

She holds appointments in conducting and music education at the Michigan State University College of Music, where she interacts with undergraduate and graduate students in the areas of conducting, choral pedagogy, and choral singing.

She is a recipient of the MSU TeacherScholar Award. She conducts the MSU Women’s Chamber Ensemble, a group that has appeared as a featured choir at American Choral Directors Association conferences. As guest conductor, she travels extensively conducting all-state and honor choirs and holding residencies with singers of all ages. She recently was a principal conductor at the Festival 500 International Choral Festival in Newfoundland, Canada. Recent guest conducting appearances include all-state choirs in Colorado, Tennessee, Michigan, Maryland, and Virginia. She was the 2015 principal conductor of the Pacific International Children’s Choir and featured headliner of the 2015 Texas Choral Director’s Association convention.

Prior to joining the MSU faculty, Snow served on the faculties of the University of Michigan and Northern Illinois University and as music director of the Glen Ellyn Children’s Chorus (Anima).

She is author of the DVD ConductingTeaching: Real World Strategies for Success published by GIA, a resource for conductor-teachers at all levels of teaching. She edits the choral music series In High Voice published by Boosey & Hawkes and is a member of the Choral Music Experience Choral Teacher Certification Board.

Southwestern Musician | October 2016 47

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BE A MAVERICK. UTA.EDU/MUSIC

by Jodi Coke

Middle School Classroom Management THAT WORKS ike many other teachers in our state, I was fortunate to have grown up in a successful, well-established choir program run by a revered music educator. Given my choral upbringing, I had no idea how much work went into establishing such a well-oiled machine. I certainly never considered that classroom management might be a challenge for me when I became a teacher. Then I had my first day on the job.

As a December graduate, job opportunities weren’t plentiful, so I accepted the first job that was offered—I would be this school’s fourth choir teacher in less than six months! With this instability, you can imagine that my wide-eyed expectations for my first day as an eager new teacher were quickly dashed. Students in every class were uncontrollable, and my day ended without even the slightest opportunity to formally introduce myself. I went home in tears, planning my escape.

Thankfully, a lot has changed in the 10 years since that first day—likely because I’ve learned a lot since then. I have devoted much of my career to becoming as knowledgeable as I can about middle school choir classroom management. After being an assistant director for many years, I am now implementing techniques I learned under master teachers in my own middle school program. Whether you’re new to this job or you’re looking for different strategies to try, I hope the methods that have worked for me can help you establish better classroom management: Never vary your “walking in the room” routine. In our classroom, students enter the room, put backpacks behind the risers, and then get their binders. I stand at the piano in the center of the room greeting students with my grading clipboard in hand.

L

When the bell rings, students begin chanting in unison, “one— shh, two—shh, three—shh…” with their hands on their rib cages.

During that time, I document who is not on the risers doing the “self-start” routine, causing their weekly choir skill grade to decrease by five points. (Yes, being on the risers with your binder ready to begin when the bell rings is a gradable skill!) After cutting them off, immediately begin typical vocal and body warm-ups with everyone focused and ready to go.

Any variation on this particular self-start exercise could work, provided it engages their vocal cords to stop conversation and creates immediate focus on the choral environment.

Have a regular class routine you follow every (typical) day.

Students should quickly become familiar with it. This provides the foundation on which you can switch things up with a new warm-up or a fun sightreading game. By setting firm boundaries from the beginning of school, you give yourself freedom to be a more creative and innovative teacher. Take this to the next level by displaying the daily plan so each student can quickly see what to expect. They will be comforted when it is business as usual and excited when they see an unfamiliar or fun activity listed.

Our typical 45-minute class structure is the following: • 10 minutes: Self-start, body and vocal warm-ups, and solfège drills • 10–15 minutes: Theory (musical terms, sight-reading, rhythm lesson, etc.)

• 5 minutes or less: Announcements (field trips, forms, behavior expectations, etc.)

Southwestern Musician | October 2016 51

• 10–15 minutes: Literature work (singing, marking scores, diction, etc.)

• 1 minute or less: End-of-class routine (dismissed one row at a time) This doesn’t preclude Fun Friday activities or occasional special projects, but students need to know what to expect in class every day and be prepared for any type of alteration, including assemblies or how to behave during emergency drills. This brings up another point: Practice good behavior! You might need to spend 30–45 minutes of each class for several days in a row entering the class-

room or putting away binders and leaving the classroom. I don’t believe this is excessive. Do not compromise, even if just one or two students aren’t complying; we all know those students can continue to disrupt the environment for the entire school year. Plan for the first several weeks of each year to be centered on establishing and practicing classroom procedure.

When you have students practice the self-start routine at the beginning of the year, offer a small prize for the first student who begins the warm-up on the next day. Then, cut them off, mimic the school

bell sound, and have the students practice self-starting several more times. Your classes will begin focused and on time each day just from practicing this skill a few times in every class the first week of school.

Make the goals for your fall concert simple: demonstrate good behavior onand offstage and deliver some musical moments. Take the class time necessary to teach appropriate concert performance and audience behavior.

Refocusing In addition to starting class successfully, refocusing students with a “be quiet” signal is equally essential. I have found two methods most helpful: (1) softly singing ooh-ooh-ooh on the pitches sol-mi-sol and having the students echo sing back, repeating as needed, and (2) the often used clap-clap clap-clap-clap that takes us all back to elementary school (but consider that talking can continue during clapping). Practice these exercises by asking the students to start talking (it’s shocking what strange noises middle schoolers will make when you give them permission to talk), then sing or clap your “be quiet” routine to see how fast they can echo and become silent. Middle school students love to practice this over and over because you repeatedly allow them be loud and goofy!

Practice this skill several times throughout the class periods at the beginning of the year and you will be extremely thankful for its lasting impact.

Finally, being a stern authoritarian will not work for many middle school choir directors. We shouldn’t, however, confuse the words strict or structured with mean or rude. I have heard some teachers express how they wished they had been meaner in the beginning, but I would argue that establishing a structured classroom environment with clearly defined boundaries allows for strong choir bonds, plentiful laughter, and maximized learning.

Those of us called to teach middle school find great joy in helping students figure out who they are, come together as a team for a common goal, and discover a love for singing. By establishing routines that set our classroom up for success, we will enjoy the freedom to simply teach and pass on our passion for choral music.

Jodi Coke is the choir director at Hillwood MS in Keller ISD.

52 Southwestern Musician | October 2016

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Preparing your classroom for T-TESS

T

he third dimension of the Texas Teacher Evaluation and Support System (T-TESS) is creating a learning environment that is conducive to the academic and social growth of your students. As with the other dimensions, I believe music teachers are lucky because many of the items required to do well are things we are already doing.

October—Renew your TMEA membership online and preregister for the convention.

October 4, 6 a.m. CT—TMEA convention online housing system opens for members.

November 15—TMEA scholarship online application deadline.

December 31—TMEA mail/fax convention preregistration deadline.

January 19—TMEA online early registration deadline.

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

Establish Routines A few years ago, I visited Holly Holt-Cabrera’s classroom at the Rice School in Houston ISD. What I observed that day made a lasting impact on my classroom management. Even before the students entered the room, there were established routines. Holly walked to the door to dismiss her current class, and as soon as they exited, she named a song (as I recall, it was Bow Wow Wow for one grade level) and gave a starting pitch. The students then entered the classroom singing and sat on an unmarked, designated spot in the classroom. When the song was over, she welcomed them and instructed them to respond when their name was called with “I am here” on the pitches mi, re, do, the ending of Bow Wow Wow. Later, it was time for the students to move into a circle. Again, the students sang as they moved quickly to their specific spot in the room.

It was obvious the actions I saw at the Rice School were not a dog-and-pony show. The students were well versed in all of the expectations and procedures of the classroom. The teacher needed minimal effort to get the results she

If students encourage each other, work together, and take responsibility not only for their own learning but also for that of their peers, meaningful learning will thrive.

Southwestern Musician | October 2016 55

wanted because the students understood and took responsibility for themselves and their learning. In the T-TESS Learning Environment Dimension, student selfreliance is an important means to demonstrate classroom efficiency.

print that is too high up on a wall or a divider that does not allow a wheelchair to easily pass, make changes. While you are touring your room, imagine you are the dreaded fire marshall and keep an eye out for potential hazards.

Make Your Classroom a Magical Oasis of Creativity When arranging your classroom, whether you have risers, chairs, desks, a carpet (or even a mobile cart), strive to achieve an environment that is inviting, inspiring, and accessible for all students.

By creating an ambiance where students are excited and curious, their minds are open to exploration and creativity. Some of the changes I made this year include getting rid of my traditional desks and chairs. My room is so large that 26 desks didn’t even take up half of the space. I also realized that most of our time was spent moving or standing, so I decided the desks weren’t necessary. Instead, we now have six mobile standing desks which can be stored away and quickly rolled out if we are working on composition or another activity that requires a hard surface.

Accessibility for all students is essential. Walk around your room, imagining you are various students with disabilities and gauge how they would perceive each station or section of the classroom.

If there are any concerns such as small

Behavior Management Class Dojo, Give Me Five, Class-Yes, Clip Charts, and Behavior Folders—these are all techniques or programs to help teachers monitor and manage their students’ behavior. However, the most effective tool is establishing student buy-in and responsibility for their own behavior.

One way to do this is through Respect Agreements.

In a program called Restorative Practice, modeled after the Restorative Justice model used by some prisons, students and their teachers work together to establish classroom norms at the beginning of the year. There is a fourquadrant chart created that includes these categories: • Student Respecting Student, • Student Respecting Teacher, • Teacher Respecting Student, and • Student Respecting Environment (classroom property).

After going through each of the categories and writing down what the norms

Be An Awesome Volunteer!

tmea.org/elementaryvolunteer 805-338-4170 / www.ccriddles.com P.O. Box 363, Newbury Park, CA 91319

Innovative, Versatile, Fun, and Challenging Study Cards Practice Tests Workbooks 56 Southwestern Musician | October 2016

should be, the chart is signed by all and posted in the classroom for the rest of the year. Whenever a discipline issue arises, the teacher (or student) simply points out the infraction on the Respect Agreement, and that will generally take care of the problem.

While even the most seasoned teacher has to eventually send a student to the office with a discipline referral, the power of behavior change resides in the person who can effectively address the situation.

Most often, that is the student. When a student willingly breaks a rule, then they give the power to you. When you send a student to the office, you are effectively giving the power to the principal. By using positive reinforcement, subtly correcting kids when needed, and being consistent, you can ensure a positive environment for learning and caring.

Establishing a Culture of Collaboration and Engagement I recently read an article about teamwork. It addressed the progress of four schools and pointed out that the most successful one had a team where members looked to each other for answers before going to outside sources. This environment of mutual respect not only leads to finding answers more readily but, more importantly, it also builds trust. In the elementary music room, if students encourage each other, work together, and take responsibility not only for their own learning but also for that of their peers, meaningful learning will thrive.

Renew Your TMEA Membership It is time to renew your membership and preregister for the 2017 Clinic/ Convention held February 8–11 in San Antonio. Be sure to make your hotel reservation as soon as possible. The member reservation system opens on October 4, beginning at 6 A.M. CT. The closest hotels fill up fast, so plan to book early.

Volunteer and Make New Connections The best way to get to know more teachers is by volunteering. Whether you work registration, volunteer in the Elementary Office, introduce a nationally renowned clinician, or help with our invited choirs, you will be appreciated. Go to www.tmea.org/elementaryvolunteer to get started. The more volunteers we have, the better our convention will be.

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Musical Conversations: Creating Mindful Advocacy Strategies

by Mícheál Houlahan and Philip Tacka usic teachers frequently lament their school administrators’ lack of understanding or appreciation for their music program. Delivering quality music education is much more than performances and supporting other subject areas, but that isn’t always others’ understanding of it. Music teachers know the value of an education that encompasses artistic music-making, music literacy, and improvisation that enhances collaborative learning, creative thinking, and community building—essential lifelong learning skills. As music educators, we need to learn how best to communicate the full breadth of our work to administrators.

Advocacy is an essential activity all music educators need to embrace. We need to convey to our administrators the impact that a research-based music curriculum and lesson plans have on the emotional and cognitive development of students. As you work to communicate the depth of music education in the development of every student, consider employing the following advocacy strategies: Document how artistic teaching impacts students’ cognitive and emotional development. Artistic teaching has a considerable impact on the emotional and intellectual development of our students. While the techniques and creative processes associated with any approach to teaching are important, we need to remember that the true essence and purpose of music education should be founded on artistic music-making. We need to share what the definition of artistic music-making entails. “To teach music effectively, we must know our subject—music. We must embody and exemplify musicianship. This is how students develop musicianship themselves: through actions, transactions, and interactions with musically proficient teachers.” 1 Document that you are concerned with authentic musical performing and artistic music listening and that your music program is not just about sound producing 2 for school events.

Share your philosophy of music education statement

M

with administrators: Create a music philosophy statement that clearly articulates the purposes and outcomes of a music education.

Document how your music curriculum is as challenging as the curriculum of other subjects: Your music curriculum is designed to develop students’ musicianship skills and is rooted in the relevant Music TEKS that must be taught at each level. You can also identify the musicianship abilities of notable musicians from folk, popular, classical, and jazz traditions and see that they share common music traits that we call “multiple dimensions of musicianship.” 3 These dimensions of musicianship are crucial components and our goal is to develop students’ musicianship as: • performers, • stewards of their musical and cultural heritage, • critical thinkers, • creative human beings, and • informed audience members.

Document how your teaching leads to the acquisition of music abilities and promotes 21st-century learning skills: Document how your learning outcomes for each lesson are rooted in your music curriculum that engage students in artistic musicmaking, develop their aesthetic responses, and expand their literacy skills. Explain how each outcome is carefully derived from the following: • Quality repertoire. Expert musicians perform quality repertoire and classroom music activities begin with the performance of quality repertoire.

• Performance skills. Expert musicians use the voice as a means of developing a more musical performance. Music lessons include activities that link singing, playing instruments, and moving (creatively) to music.

Southwestern Musician | October 2016 59

THIS IS THE HOUSE INNOVATION BUILT. Welcome to the Powerhouse.

MOORES SCHOOL OF MUSIC AU DI T ION DAT E S 2016 November 5 2017 January 28 2017 February 4 2017 March 4 & 5

uh.edu/music

• Critical thinking skills. Expert musicians understand how to use their aural skills and visual skills to experience music and engage in artistic music-making. Students use music literacy skills to enhance their artistic performing abilities as well as develop reading and writing abilities.

• Improvisation and creative skills. Students can improvise motions and movements to songs as well as improvise rhythms and melodies both vocally and instrumentally based on known repertoire.

• Listening skills. Students use their knowledge of music repertoire and music literacy to actively listen to music.

Share your music lesson plans with your administrators to document the musicianship and 21st-century learning skills you are imparting to your students.

A sample grade two lesson plan for teaching half notes is included here on the following page.

Share your research-based approach to teaching music literacy: Students become active learners not simply by learning about the musical concepts but by learning about the process through music performance.4 Show administrators how your teaching enables students to gain musical knowledge, understanding, comprehension, and mastery of the basic building blocks5 of music fundamentals and guides students to develop musical skills such as reading, writing, improvisation, and composition.

Share how your music lessons are developing creativity and innovation skills: Share how we inspire students’ musicianship, innovation, and creative skills based on the contents of the music curriculum. When students sing a body of repertoire tunefully, perform musically on instruments, and explore the rhythmic and melodic elements of the songs, they can create new musical compositions where they take the lead as co-performers, innovators, and collaborators.

Administrators should be impressed by the integrity of this approach because it is based on the music abilities and skills that you have developed in your students.

This type of project demonstrates how you are engaging your students’ creativity through linking it to known music repertoire, music performance skills, knowl-

edge of music literacy, knowledge of improvisation techniques, and your ability to engage your students in real collaboration that produces a significant musical composition. Such activities build community in the strongest sense of the word.

Demonstrate how music builds a learning community: An overarching goal of music instruction is to create a community of learners that experience and explore all of the various facets of what it means to be a musician and share this knowledge with their community.

Students experience the power of music through shared experiences with members of their communities. When viewed through this particular prism, students share their repertoire as they engage in music-making in their performances.

Through their music performances, students build artistic bridges and develop more interconnected communities.

Musical Intuitions (New York: Oxford University Press).

Mícheál Houlahan is chair for the department of music and a professor of music theory and aural skills at Millersville University. Philip Tacka is professor of music education and music history at Millersville University. Both will be Elementary Division Featured Clinicians at the 2017 TMEA Clinic/Convention. For more resources, go to the Houlahan & Tacka & Kodály Studies Facebook Group.

Statement of Ownership, Management, and Circulation (All Periodicals Publications Except Requester Publications) 1. Publication Title

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Coda Successful advocacy can begin with developing an organic music program that links your philosophy of music education to the design of your music curriculum and subsequently to lesson plans. A music program that is well-constructed, artfully taught, and has stated learning outcomes that can be critically evaluated will inspire the confidence of school administrators and parents, leading to greater support for your music program.

Through the multiple dimensions of their music education, students develop skills that not only will make them more accomplished musicians and creative human beings but also prepare them for lives as citizens of the 21st century.

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Full Name Complete Mailing Address

Texas Music Educators Association

P.O. Box 140465, Austin, TX 78714-0465

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References 1. David J. Elliot, ed. (2005). Praxial Music Education: Reflections and Dialogues (New York: Oxford University Press). 12.

2. David J. Elliot (1995). Music Matters: A New Philosophy of Music Education (New York: Oxford University Press). 271.

3. Mícheál Houlahan and Philip Tacka (2015). Kodály Today: A Cognitive Approach to Music Education (New York: Oxford University Press). 14–52.

4. Rita Aiello (2003). “The Importance of Metacognition Research in Music,” in Proceedings of the 5th Triennia ESCOM Conference (Germany: Hanover University of Music and Drama). 656.

5. Jeanne Bamberger (2000). Developing

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Southwestern Musician | October 2016 61

Grade Two Lesson Plan S = students; T = teacher; CSP = comfortable starting pitch Learning Literacy & Life Skills

Texas Essential Knowledge Skills (TEKS)

• Body Warm-up • Beat Activity Palladio, Karl Jenkins (b. 1944) • Breathing: Students practice blowing a balloon and watch how air is released when deflating the balloon • Resonance: Explore a cow sound using a low and high voice. Inhale and exhale correctly using support muscles.

• Posture: Remind students of the correct posture for singing

Learning Creative Movement

(5) Historical and cultural relevance.

The student examines music in relation to history and cultures.

Rocky Mountain CSP: D • S sing the song • Add a simple ostinato

Music Literacy

(3) Creative expression. The student performs a varied repertoire of developmentally appropriate music in informal or formal settings.

Blue CSP: F-sharp • S sing the song and continue the ostinato • S sing the song on a staccato “doo” • S sing the song on a legato “loo”

Community Building

(4) Creative Expression. The student creates and explores new musical ideas within specified guidelines.

All Around the Buttercup CSP: F-sharp • S sing song • S sing song with rhythm syllables and conduct • T sings phrases from Clap Your Hands Together, Let Us Chase the Squirrel, and other known songs with text; S echo sing using rhythm syllables as they tap the beat

Music Literacy

Grade 2: Unit 3 Half Note, Lesson 3 Outcome

Preparation: Students will create a visual representation of a sound that lasts two beats.

Practice: Students will improvise with melodic motives exercising the concept of do and based on Bow Wow Wow INTRODUCTORY ACTIVITIES

Warm-up

Sing Known Songs

Collaboration Community Building

2$sdq\sdq> • Continue the ostinato into the next song Button You Must Wander CSP: D • S sing the song and perform the ostinato • S may choose instruments with which to play the ostinato Develop Tuneful Singing Tone Production Diction Expression

Review Known Songs and Elements

Productivity (working to shape a performance)

CORE ACTIVITIES Teach a New Song

Great Big House in New Orleans CSP: F-sharp • T sings the song while S move to the circle; teach the game • T and S sing and play the game

62 Southwestern Musician | October 2016

Creative Movement Collaboration Community Building

(1) Foundations: Music Literacy. The student describes and analyzes musical sound.

Develop Knowledge of Music Literacy Concepts Create a Visual Representation of What You Hear

Creative Movement

Here Comes a Bluebird CSP: A • S sing the song in unison • Review kinesthetic and aural awareness activities • T sings the target phrase on a neutral syllable and asks S to create a representation of the target phrase. S may use pencil and paper, unifix cubes or other materials.

• T may say “Draw what you heard” or “Pick up what you need to show me what you heard.” S share their representations with a neighbor • T chooses a student to come to the board to share their representation. If necessary, corrections may be made by reviewing the aural awareness questions • S point to their representation of the second phrase of Here Comes a Bluebird and sing on a neutral syllable

Music Literacy

Button You Must Wander CSP: D • S sing the song and move to the circle; play the game

Creative Thinking

Collaboration Community Building Social Skills

(2) Foundations: Music Literacy.

The student reads and writes, and reproduces music notation.

Technology and other tools may be used to read, write, and reproduce musical examples.

(6) Critical Evaluation and Response. The student listens to, responds to, and evaluates music and musical performances.

Collaboration Practice Music Performance and Literacy Skills Improvisation

Bow Wow Wow CSP: D • Sing Bow Wow Wow • Sing target phrase with solfège syllables and hand signs • T reveals the pattern on the board written with standard notation and solfège 2$sdsd\sdq| sss l smd • T transforms this phrase to: 2$sdsd\sdq| sss l sms • T reveals other phrases from known song material that will comprise the “answer” phrases in the improvisation activity (King’s Land) 2$sdsd\qQ| ss ss d

Critical Thinking Collaboration Community Building Flexibility Initiative Productivity Leadership

(2) Foundations: Music Literacy.

The student reads and writes, and reproduces music notation.

Technology and other tools may be used to read, write, and reproduce musical examples.

(6) Critical Evaluation and Response. The student listens to, responds to, and evaluates music and musical performances.

(Sea Shell) 2$qq\qq| d s d s • T sings the “question” phrase and S reply with the “answer.” S can choose either of the answers provided by the teacher or create their own answer ending on do SUMMARY ACTIVITIES Review Lesson Outcomes

Great Big House in New Orleans CSP: F-sharp

Review the New Song Mícheál Houlahan and Philip Tacka (2015). Kodály in the Second Grade Classroom: Developing the Creative Brain in the 21st Century (New York: Oxford University Press). 186–187.

Southwestern Musician | October 2016 63

COLLEGE NOTES

B Y

S I

M I L L I C A N

Radical ideas for wrangling your day

I

n last month’s column, I suggested that sometimes saying no to a request for your time can allow you to make the most of your professional energy so that you might be better able to focus on the more important projects and people in your life.

This month, I’d like to share a few radical ideas for time management that have helped me in my daily work. I’ve collected many of these tips from the work of business professionals and entrepreneurs, and some of their ideas don’t always apply directly to what we do in academia. Tim Ferriss, for instance, suggests hiring someone to answer your email only twice a week—something that may not go over well with your department chair or dean.

Here are a few of the tips I’ve found to be helpful in managing the daily activities of being a full-time teacher at the collegiate level: • Don’t answer your email. I’m being facetious of course, but many experts advise that you wait until you’ve accomplished at least one major task at work each day before checking your email. As we all know, it is easy to sit down to “quickly” check our mail only to find ourselves an hour later still reading and responding to messages.

• Delete all your email. When you do turn your attention to your email, business author David Allen recommends a unique method for dealing with messages immediately and deliberately to stay organized. Allen

Closely guard your most productive work time so that you can focus your creative energy on the most important task of the day.

64 Southwestern Musician | October 2016

October—Renew your TMEA membership online and preregister for the convention.

October 4, 6 a.m. CT—TMEA convention online housing system opens for members.

October 7—College Division Fall Conference in Austin.

October 15—Poster session proposal deadline.

November 1—Deadline to nominate students for the new Texas Collegiate Music Educator award.

November 15—TMEA scholarship online application deadline.

December 31—TMEA mail/fax convention preregistration deadline.

January 19—TMEA online early registration deadline.

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

recommends that you immediately deal with every scrap of paper and every email message in one of four ways: — delete or trash it; — if it can be handled in less than two minutes, finish the task immediately; — if it takes longer than two minutes, and it needs attention in the near future, add the item to your to-do list of active projects; and — if someone else can deal with it, delegate or forward the message to that person.

Using Allen’s system, you would have an empty inbox after each processing session.

• Say no to everything. As I mentioned last month, don’t feel pressured into responding to requests for your time right away. If possible, ask people to send you more information, and then compare their request to your list of

personal and professional priorities.

• Remember, there are only two hours in a day. I know, someone probably told you there are 24 hours in a day, but actually most of us have only two or three hours in which we function at our peak performance level. Some people are most productive in the early morning hours while others feel energized after that second cup of coffee or after engaging with colleagues in the afternoon. Learn what your best time is so you can capitalize on it.

• Build an island of productivity. Closely guard your most productive work time so that you can focus your creative energy on the most important task of the day. If you work best by yourself during these times, close your office door. If you work better in a group, schedule a regular time when you can meet with like-minded colleagues who will support you.

Whatever you do, be sure that you

CALL FOR PAPERS The Research Committee is pleased to announce the call for proposals for presentations at the TMEA Clinic/Convention Research Poster Session.

The committee encourages submissions from current members in all TMEA divisions, including college students. Selected authors will present their research at an informal session in which interested music teachers can learn about the research and discuss applications to music teaching.

Go to www.tmea.org/papers to submit online.

For questions, contact the Poster Session Organizer, Amy L. Simmons, asimmons@austin.utexas.edu

WWW.TMEA.ORG/PAPERS

66 Southwestern Musician | October 2016

schedule this best work time and religiously guard it to maintain peak productivity.

• Always look back. David Allen recommends setting time aside each week to review your active projects and upcoming goals and timelines.

• Start each day by eating a frog. Brian Tracy, the author of Eat That Frog, writes: “Mark Twain once said that if the first thing you do each morning is to eat a live frog, you can go through the day with the satisfaction of knowing that that is probably the worst thing that is going to happen to you all day long.” The “frog” is your most important, perhaps daunting, task that needs your attention and is often that one item on your to-do list that you are most likely to put off in an unproductive bout of procrastination. Tracy writes that this task “is also the one task that can have the greatest positive impact on your life and results at the moment.”

Radical Resources for Time Management Allen, David (2001). Getting Things Done: The Art of Stress-Free Productivity. New York, NY: Penguin.

Tracy, Brian (2007). Eat That Frog!: 21 Great Ways to Stop Procrastinating and Get More Done in Less Time. San Francisco, CA: Berrett-Koehler.

Ferriss, Timothy (2011). The 4-hour Work Week: Escape the 9-5, Live Anywhere and Join the New Rich. Random House.

College Division Fall Conference Our division’s annual Fall Conference is just around the corner. The session begins at 10 A.M. on Friday, October 7, at the TMEA Headquarters in Austin. I hope that you’ve already received an email invitation to attend this event, but if you would still like to join us, please email me immediately at si.millican@utsa.edu.

TMEA President Dinah Menger will share insights from the TMEA Summer Dialogue on Urban Teaching that was held this past June. We will also get a preview of the upcoming state legislative session and reports on the latest news from the Higher Education Coordinating Board, State Board for Educator Certification,

UNIVERSITY OF NORTH TEXAS

College of Music

2017 Auditions

UNT Campus Auditions

Regional Auditions

(live jazz and percussion auditions offered on campus only)

(live jazz and percussion auditions offered on campus only)

Saturday, January 28, 2017 Friday, February 3, 2017

Friday, January 13, 2017 Chicago Los Angeles New York City

(Graduate percussion, piano, strings, voice & DMA jazz only)

Saturday, February 4, 2017 Saturday, February 25, 2017

MUSIC.UNT.EDU

and the Texas Education Agency.

Additionally, we will collaborate in short break-out sessions to share ideas and issues that are important to you and your colleagues. This is a great way to network with colleagues and work through the concerns and challenges of our profession.

Clinic/Convention Housing Housing for the 2017 TMEA Clinic/ Convention opens at 6 A .M. CT on October 4. Our allotment of housing spaces in the system fills up quickly. If

you try to reserve but find no vacancies, please check back regularly. Rooms are sometimes reserved and then canceled throughout the months leading up to the convention. To access the system, go to www.tmea.org/housing.

TMEA Research Poster Session Update The TMEA Research Poster session will be held on Thursday afternoon, February 9, during the TMEA Clinic/Convention in San Antonio. We have relocated this

TMEA Clinic/Convention Housing Reservations Available October 4, 6 A.M. CT WWW.TMEA.ORG/HOUSING

event to the Stars at Night Ballroom Lobby (on the third floor above the centerâ&#x20AC;&#x2122;s main lobby) to give participants more room and to be closer to other College Division events. Please visit www.tmea.org/papers to submit your abstract proposal online before the October 15 deadline. Email Amy Simmons if you have any questions at asimmons@austin.utexas.edu.

TMEA Collegiate Music Educator Fall Deadline The deadline to nominate fall 2016 graduates for this new award is November 1. Through this TMEA program, Texas college faculty can recognize their elite music education graduates. Award recipients should represent the finest and most dedicated future music educators across the state. Go to www.tmea.org/collegiateaward for eligibility requirements and to nominate your institutionâ&#x20AC;&#x2122;s graduates (only one faculty member should enter all eligible students from their institution). The spring 2017 graduate deadline will be March 15. If you have any questions about this new program, email Si Millican, College Division Vice-President, at si.millican@utsa.edu.

Music scholarships available to non-music majors I Faculty who focus on UNDERGRADUATES

think. perform. explore.

I National and international ENSEMBLE TOURING I DEGREES in music education, performance,

and composition I MASTER of Arts in Teaching, a 5th year program

with a full year of student teaching and 100% job placement (20 consecutive years) I Located in CULTURALLY VIBRANT San Antonio I STUDY ABROAD opportunities I 16 ensembles

trinity.edu/music June 2014, the Trinity University Music Department was recognized as an ALL-STEINWAY SCHOOL by Steinway and Sons, for its commitment to excellence and purchase of 32 Steinway pianos.

68 Southwestern Musician | October 2016

B O S T O N C O N S E R V A T O R Y. B E R K L E E . E D U