October 2014 Southwestern Musician

OCTOBER 2014

The Future of Music Education in

NEW!

TEXAS!

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• Seeks to be 100% TEKS compliant!

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Submitted for review under Proclamation 2015!

• Texas Songs • Commitment to Accessibility as set forth in Proclamation 2015 • Texas History and Key Figures • Mariachi Group Performances

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28 FEATURES

OCTOBER 2014

13

COLUMNS President’s Notes .............................................. 4

by Janwin Overstreet-Goode

In this review of our previous year, it’s clear to see that our association is so much more than just a convention. Read this report and stay updated on all that TMEA has to offer.

BY KEITH DYE

28

VOLUME 83 — ISSUE 3 On the cover: Helen Zheng, a graduate of Plano SH and current freshman at the University of Texas, rehearses with the 2014 All-State String Orchestra. Photo by Karen Cross.

TMEA 2013–2014 Annual Report

What I Learned (and Relearned) at Tanglewood Regardless of what level or ensemble you teach, you will gain great insight from these observations of some of the best conductors of our time.

BY H. ROBERT REYNOLDS

39

Tutti

58

Everyone Can Use a Hand

TMEA members offer their advice on great repertoire for instruction, assignments that help students gain a greater understanding of the music, and more.

In the second of a two-part series, four mentors in the TMEA Mentoring Network offer their expertise and experiences from working with their protégés during the past year.

BY KAREN CROSS

UPDATES

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

by Robert Floyd Band Notes .............................................................19

by Andy Sealy

Apply Online for a TMEA Scholarship ...........................................................2 2015 TMEA Clinic/Convention: Important Dates and More .......................8

Orchestra Notes .............................................. 33

by Craig Needham Vocal Notes ........................................................... 45

by Dinah Menger Elementary Notes ...........................................65

by Colleen Riddle College Notes ......................................................68

by Michele Henry

TFME Turns Ten! .......................................................................................... 26 President’s Concert Featuring the Swingle Singers ................................. 49 Perform for Arts Education Days at the Capitol ....................................... 56 It’s Not Too Late to Apply for a Middle School Music Grant .................... 56 Southwestern Musician | October 2014

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

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

Past-President: Joe Weir joseph.weir@humble.k12.tx.us 19627 Firesign Drive, Humble, 77346 281-641-7606 – Atascocita HS

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

Orchestra Vice-President: Craig Needham Craig.Needham@richardson.k12.tx.us 1600 E Spring Valley Road, Richardson, 75081 469-593-7028 – Berkner HS

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

Elementary Vice-President: Colleen Riddle criddle@aldine.k12.tx.us 319 E North Hill Drive, Spring, 77373 281-985-6107 – M.O. Campbell Ed Center

College Vice-President: Michele Henry michele_henry@baylor.edu 1 Bear Place Unit 97408, Waco, 76798 254-644-0150 – Baylor University

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 Apply online by November 15 to be eligible.

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. Scholarships for graduating seniors range from $2,500 up to $15,000. Encourage your best and brightest seniors to apply and submit all supporting materials by November 15.

Graduating Senior Scholarships • 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 • 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) range from $2,000 to $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 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 HGLWRUVKLS RI ' 2 :LOH\ ZKR FRQWLQXHG WR VHUYH DV HGLWRU XQWLO KLV UHWLUHPHQW LQ $W WKDW WLPH RZQHUVKLS RI ERWK PDJD]LQHV ZDV DVVXPHG E\ 70($ ,Q $XJXVW WKH 70($ ([HFXWLYH %RDUG FKDQJHG WKH name of the publication to Southwestern Musician.

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Southwestern Musician | October 2014

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PRESIDENT’S NOTES IMPORTANT DATES October—Renew your TMEA membership and preregister for the 2015 convention.

October 1, 6 a.m. CT—TMEA convention online housing reservation system opens.

November 15—TMEA scholarship online application deadline (see page 2).

December 31—TMEA convention mail/fax preregistration deadline.

January 22, 2015—TMEA convention online preregistration deadline.

February 11–14, 2015—TMEA Clinic/ Convention in San Antonio.

J A N W I N

O V E R S T R E E T - G O O D E

O

ne size fits all—this is on the tag you see on some items of clothing. The purpose of this single size is to allow for mass production and increased cost effectiveness. The clothing may be tight on some, loose on others, but it is a garment that can be worn by many.

The Constitution of the United States is the guiding document of the federal government—one document to fit all. Beyond that, each state has the autonomy to establish its own laws and guidelines—within the parameters of the Constitution and its amendments. TMEA operates in a similar fashion—with its Constitution and Bylaws and its Policies and Procedures, the State and Executive Boards serve as the governing body for Texas music educators. The 28 Regions have the ability to establish rules and procedures that are specific to the needs of their students and directors.

All-State Small School Mixed Choir Sometimes there’s no way to make one size fit all. TMEA developed the AllState Small School Mixed Choir to address the needs of this population (statistically an underserved population in the state). This is a completely new organization, with an organizational structure that blends old with new. The Vocal Division will undoubtedly experience some growing pains with this endeavor, but we hope the learning curve won’t be too steep. For more information on this opportunity, go to www.tmea.org/smallschoolchoir.

Alternate Call-Ups To address the concerns and needs of those Areas that cover a large geographic area, a new policy was put in place to establish a cutoff time for calling alternates to the Area auditions. Alternates cannot be called after 10 P.M. on the day preceding an audition. While some Area alternates might just need one hour to travel and could be called the morning of an Area audition, others could have to travel up to six hours. Many school districts have ruled not to allow alternates to come, while others have allowed it.

The Executive Board is listening to your concerns and doing its best to provide policies and guidelines that will help each Region, Division, and TMEA member be successful.

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Southwestern Musician | October 2014

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

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

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

Contact Us 140303-0814

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

In some instances, alternates from one Region were used to fill spots vacated by students from another Region when that Region’s alternates were not present. Continuous reports and complaints resulted in this concern being presented to the Executive Board. For those Areas that have a shorter traveling time, the 10 P.M. cutoff might seem unreasonable— an example of one size not necessarily fitting all. If this “size” does not fit your Area as well, please communicate that to the Executive Board.

document is a direct result of that committee’s work. The current Executive Board took their recommendations, and after further discussion and consideration, created an official document.

As stated in an earlier article, the Executive Board is listening to your concerns and doing its best to provide policies and guidelines that will help each Region, Division, and TMEA member be successful. Let us hear from you as we work to better serve all music educators and their students in Texas.

Region Stipends One example of one size needing to fit all is the establishment of the Best Practices and Guidelines for Region stipends. As a nonprofit organization, an army of volunteers at all levels serves TMEA. Some Regions opt to compensate their elected officials for the extra time and effort required to serve their constituents. However, the disparities in the stipends offered by different Regions and Divisions raised a red flag to TMEA’s auditors. A committee consisting of former Executive Board members discussed the concerns raised, and the Best Practices

Alignment Another place where one size doesn’t always fit all is in Region and Area alignment. After 10 years, the Executive Board has determined it is time to again address the question of Region and Area realignment. The last realignment took into consideration the need to establish equity between Regions and Areas, while at the same time dividing the metropolitan areas. One consideration to further refine this philosophy is to use apportionment—having representation from across the state, but apportion the membership in the All-State organizations based

RBC MUSIC COMPANY INCORPORATED

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Southwestern Musician | October 2014

on actual auditioning students, not just audition entries, beginning at the Region level. Current technology allows TMEA to better track these statistics, which will be used to help establish a new (and hopefully better) Region and Area alignment.

Clinic/Convention Update As always, we suggest you preregister for the convention. Not only will this save you money, but the process by which you receive your badge at the convention center will be more efficient.

With that in mind, be sure you reserve your hotel through the TMEA housing system as soon as possible. The system opens on October 1 at 6 A.M. Central Time at www.tmea.org/housing.

When you make your reservation, consider starting it on Wednesday, February 11. With the TI:ME Music Technology Preconference, you can start attending clinics on day one. On the opening night of our convention, the Swingle Singers will be the featured performers at our President’s Concert at 8 P.M. Be sure to purchase your $10 tickets when you preregister for the convention.

Texas Lutheran University School of Music

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

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

SCHOOL OF MUSIC DEPARTMENT HEADS

SCHOLARSHIP AUDITION DATES:

Beth Bronk Director of Bands bbronk@tlu.edu

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

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

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

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

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

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

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

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

TMEA Clinic/Convention F E B R U A R Y 11 –14 S A N A N T O N I O W W W . T M E A . O R G / C O N V E N T I O N

IMPORTANT DATES October 1 Housing reservation system opens. Make a reservation early as discounted hotels sell out quickly!

The Best Place to Learn.

December 31 Last day to fax or postmark a convention preregistration.

January 22 Last day to preregister online for the convention.

WEDNESDAY AT THE CONVENTION with TI:ME Music Technology the

National Conference

Get your convention experience off to a great start with these two exciting events:

TI:ME Preconference Choose from over 25 clinics all focused on technology solutions for your classroom. $50 separate registration.

President’s Concert Featuring the Swingle Singers, this is sure to be a highlight of your convention experience.

Buy your $10 tickets when you preregister.

BAND.ORCHESTRA .VOCAL.ELEMENTARY.COLLEGE 8

Southwestern Musician | October 2014

Convention housing and more B Y

R O B E R T

F L O Y D

T

his issue of SOUTHWESTERN MUSICIAN was mailed a week before our discounted convention reservation system opened on October 1. Over 4,000 hotel rooms are available from the housing website. The TMEA staff has worked hard to secure the lowest rates possible at each of the hotels. With the economy booming and hotel rates increasing 5â&#x20AC;&#x201C;7% each year, I hope you will be pleased that most of our rates are unchanged or reflect minimal increases.

In addition, the hotels will continue to provide free Internet access and some will be offering discounted self-parking at up to half price.

I know it is frustrating to go online even a few hours after housing opens and discover that your hotel of choice is not available, but that is the reality of how quickly our members respond to the October 1 opening. I remind you that if your preferred hotel is not available, the hotel might not be completely sold out, but the room type you requested has sold out. Blocking 925 rooms for All-State students in the larger properties creates a shortage of rooms with two beds in these downtown hotels. I assure you that members and exhibitors are allowed first access to our block of rooms, and invited and honor groups are housed in other properties. We will add rooms as they are made available and are needed throughout the fall.

Be extremely wary of any phone call or email you may receive offering hotel rooms during the convention at extremely low rates. Scammers will pose as official TMEA housing representatives, offer you a low price, get your credit card information, and charge your card, and then you will never hear from them again. When you arrive at the hotel in San Antonio you will not have a

EXECUTIVE DIRECTORâ&#x20AC;&#x2122;S NOTES IMPORTANT DATES Octoberâ&#x20AC;&#x201D;Renew your TMEA membership and preregister for the 2015 convention.

October 1, 6 a.m. CTâ&#x20AC;&#x201D;TMEA convention online housing reservation system opens.

November 15â&#x20AC;&#x201D;TMEA scholarship online application deadline (see page 2).

December 31â&#x20AC;&#x201D;TMEA convention mail/fax preregistration deadline.

January 22, 2015â&#x20AC;&#x201D;TMEA convention online preregistration deadline.

February 11â&#x20AC;&#x201C;14, 2015â&#x20AC;&#x201D;TMEA Clinic/ Convention in San Antonio.

7KH RIĂ&#x20AC;FLDO 70($ KRXVLQJ V\VWHP OLQNHG IURP www.tmea.org/housing, is operated by the San Antonio Convention and Visitors Bureau, and you should book your rooms only through this service.

Southwestern Musician | October 2014

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reservation. This scam is rampant in the industry, and they prey first and foremost on exhibitors whose information they can get from our website. Those that are somewhat legitimate rarely can offer a rate below what TMEA has negotiated in the same properties. Know that we never call members to offer housing.

The official TMEA housing system, linked from www.tmea.org/housing, is operated by the San Antonio Convention and Visitors Bureau, and you should book your rooms only through this service. As a reminder, while a credit card is necessary to hold your reservation, your card will not be charged for the guarantee at any time prior to January 29.

Texas All-State Alumni Band, Orchestra, and Choir Since the year of our 75th anniversary, every fifth year TMEA has assembled an All-State Alumni Band, Orchestra, and Choir to perform for one of the general sessions at the convention. It has been an event enjoyed by both participants and audiences, and the Executive Board through the years has chosen to continue to make this a part of our convention.

Since 2010, however, the days and times of the general sessions have changed to better accommodate our master schedule with additional All-State ensembles, more workshops, and a more robust clinic program on Saturday. Because of these changes, in 2015 it will be impossible to accommodate the rehearsal and performance needs of an All-State Alumni Ensemble.

During the 2020 convention we will be celebrating the 100th anniversary of TMEA, and with the convention center expansion complete, the Executive Board may have the opportunity to reinstate an All-State Alumni Ensemble as a part of that celebration.

Arts Education Days at the Capitol In collaboration with Texas Coalition for Quality Arts Education, TMEA will be sponsoring Arts Education Days at the Capitol March 4–5, 2015. Once again we will feature quality fine arts groups in performance each day in the rotunda at noon and on the capitol south steps in the afternoon. If you are interested in performing, please go to page 56 for more information about how to apply. Groups will be selected to perform based on qual-

ity, type of ensemble representing music, theatre, and dance, and a balance of geographical representation. Elementary as well as secondary ensembles may apply.

Please be mindful that the performances are short and not always in the most optimum of conditions. However, directors of ensembles and groups that have performed in the past will attest that it is a valuable educational experience enjoyed by their students, and it certainly is a way to showcase the incredible talents of our Texas arts students.

Staff Extends Thanks The TMEA staff extends its thanks for your patience these past few months as we worked to upgrade our online membership system. We hope you experience an improved and streamlined process when you transact business with TMEA— everything from renewing a membership and preregistering for the convention to making a scholarship donation or ordering convention audio recordings. Without question, expect that moving forward we will open membership each May, as has been our practice prior to last year.

DEPARTMENT OF MUSIC Dallas Baptist University produces quality musicians who become servant leaders in various areas of performance, music education, worship leadership, and the music and entertainment industry.

With state-of-the-art performing and recording spaces, Dallas Baptist offers students a superb education with a Christcentered focus and personalized attention from deeply committed Christian faculty.

AVAILABLE DEGREES

2015 AUDITION DATES

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Saturday

Church Music, Piano Performance, Vocal Performance, or Theory

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January 31, 2015 (Winter Patriot Preview)

Saturday

March 28, 2015 (Spring Patriot Preview)

The Dallas Baptist University Department of Music is accredited by the National Association of Schools of Music.

ZZZ GEX HGX Southwestern Musician | October 2014 11

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

by Keith Dye

T

he 2013–2014 academic year was an important time to be a Texas music educator. On many fronts, having weathered the past legislative session and a not-so-distant economic downturn, this past year saw a return not only to normalcy but also, in several aspects, progress and new growth. The combined efforts of the TMEA staff and membership played no small part in this resurgence. The past year served as a stabilization and solidification that sets a robust foundation for even brighter days with exciting opportunities to follow.

MEMBERSHIP The strength of TMEA lies in its members. Our teachers are the leaders and visionaries who inspire the musicians in the music classrooms and rehearsal halls. With last year’s membership total of 16,763 comprising 11,779 Active, 720 Retired, 88 Institutional, 3,627 College Student, and 549 Sustaining members, TMEA continues to prove its effectiveness and pertinence to music education across the state.

MENTORING NETWORK TMEA’s redesigned Mentoring Network continued to grow steadily, pairing 138 protégés and mentors in 2013–14. This spring, TMEA surveyed protégés to help identify areas for continued improvement in this important program. The Executive Board has committed to the success of this vital program to ensure new teachers receive the support they need during the most critical years of their career.

TEXAS FUTURE MUSIC EDUCATORS Membership in the Texas Future Music Educators has grown

to 913 in 41 chapters, with 695 members registered for the 2014 convention. These future stars of music education are thriving with the assistance of their directors. This program began in 2004 and offers a wonderful opportunity for TMEA members to share their knowledge and passion in a new way with students who show an interest in pursuing music education as a profession.

Chapters across the state have implemented many ways to help high school students better understand the demands and expectations they will face as music education majors. Help promote the future of music education by starting a campus or district chapter.

FINANCIAL STATUS TMEA is in good financial shape with sound diversification of funds and investments. We continue to have two years of operating expenses in savings and investments. A financial report must be filed twice a year for each Region bank account, and accounts are randomly selected for audit purposes each year. The staff is now issuing contracts for those paid $250 or more annually for TMEA services rendered and is filing appropriate tax forms.

GRANT FUNDING In the first grant of its kind, TMEA awarded almost $500,000 to 624 elementary programs across the state. The Executive Board created this grant opportunity to support elementary teachers often faced with little to no budget. Elementary teachers applied for up to $800 for the purchase of music, music equipment, instruments, instructional software, and other music educational materials.

With the overwhelming success of the elementary music grant program, the Executive Board voted to initiate a similar program Southwestern Musician | October 2014 13

in 2014–2015 to allow middle school music teachers to apply for funding for sheet music.

SCHOLARSHIPS AND SCHOLARS With conservative investments and generous donors, TMEA was able to award $207,500 in scholarships to current and future music educators. The scholarship program remains a strong and growing program of support for our graduating high school seniors, college undergraduates, student teachers, and graduate students. The Executive Board approved a $500,000 endowment contribution to the fund to help in its growth and impact.

The Texas Music Scholars program awarded certificates and patches to 2,047 student musicians in our programs in recognition of their dedication and commitment to music and academic scholarship. There are now over 240 individual schools participating in the Music Scholars program.

DISTINGUISHED ADMINISTRATOR AWARDS TMEA continued to recognize outstanding administrators as nominated by the membership. Members can nominate

14 Southwestern Musician | October 2014

online at www.tmea.org/adminaward.

This program was created to recognize upper-level school administrators across the state who have been instrumental in preserving quality music education programs on their campuses and in their districts.

TEXAS LEGISLATURE After the 83rd legislative session, TMEA played an active role in the drafting of State Board of Education rules for the implementation of HB 5 and the new Foundation School Graduation Program. Working closely with the Texas Association of School Administrators, the Texas Association of School Boards, and key State Board members, TMEA was successful affecting the SBOE rules to protect maximum flexibility for our fine arts students no matter the endorsement. Since the rules adoption, TMEA has played a major role in communicating information regarding the new graduation plans to our membership as well as helping members communicate to their districts about HB 5 language that limits the removal of students from classes for test preparation and remediation. Most

notably, all graduation plans retained the one-credit fine arts requirement.

TEKS UPDATE Revised curriculum standards for K–12 fine arts instruction were approved and will take effect in the 2015–2016 school year. TMEA has been on the forefront of raising awareness of changes that will soon go into effect, and numerous TMEA members were directly involved in the crafting of the revised TEKS language.

2014 CLINIC/CONVENTION For the 14th year, TMEA members attended the convention with no increase in convention registration fees.

Of the almost 27,000 attendees, over 9,000 were active Texas music educators. The President’s Concert featured The 5 Browns. General Session speakers were Dr. Tim Lautzenheiser and Sir Ken Robinson. With the TI:ME Music Technology National Conference held in conjunction with our convention, attendees enjoyed a greater opportunity to attend clinics on incorporating technology in music instruction. This included a full-day preconference with

a concentration of technology clinics on Wednesday.

There were a number of modifications and new offerings at our 2014 convention: • The first Graduate School Fair was held with an estimated 450 attendees.

meetings were held at a common time, with reports of increased attendance and participation in all areas.

The TMEA convention boasted the following: • 298 Clinics

• The first performance of a second All-State Jazz Ensemble took place.

• 95 Performances

• The two General Sessions began at 8 A.M. prior to the beginning of all other convention activity.

• 110 College Night Booths

• Each of the five division business

• 1,166 Exhibit Hall Booths • 9,245 Active Member Attendees • 26,716 Total Attendees

ALL-STATE PROCESS REVIEW The Executive Board voted to better serve small-school students and programs by adding an All-State Small School Mixed Choir beginning with the 2014–15 school year. Divisions also continued the process of refining rules and procedures in hopes of further clarifying their intent to all, resulting in a more unified system in every Region.

NEW INITIATIVES, OFFICER TRAINING, AND ADVOCACY The Executive Board agreed to fund formal training sessions of TMEA Region Divisional Chairs. These sessions took place at the 2014 summer conventions.

To help standardize some TMEA Region practices, the Executive Board, motivated by the desire to ensure fiscal responsibility, formed a select committee to create a Best Practices and Guidelines document for stipends awarded for Region-level officers and services.

Another long-standing issue was acted on during the 2014 Clinic/Convention with the passage of a constitutional amendment allowing the implementation of online voting for the office of President-Elect.

To raise the level of awareness of, and advocacy for, our elementary music programs, the Board approved funding for advocacy materials to help inform the state’s stakeholders about what we believe an appropriate elementary music experience should be for students in Texas.

MOVING FORWARD It’s clear that our association’s services and support have grown as its membership has grown. This evolution will continue, especially when more TMEA members become involved in the association. Consider dedicating some time to the future of our profession by serving as a volunteer and in leadership positions where you can help shape the future of TMEA.

Keith Dye is Associate Dean for Undergraduate and Curricular Issues in the College of Visual & Performing Arts and Associate Professor of Music Education at Texas Tech University and is TMEA President-Elect.

16 Southwestern Musician | October 2014

A dynamic, collaborative community of artists, scholars and teachers Choirs â&#x20AC;˘ Orchestras â&#x20AC;˘ Bands Opera/Music Theatre â&#x20AC;˘ Chamber Music

Join over 500 music majors and learn to develop and fine tune your musical skills to be used anywhere in the world.

Learn from a faculty of 55 internationallyrecognized artists, educators and researchers in an ideal atmosphere to ensure complete instrumentation for the larger ensembles as well as individual attention for students in private applied music study, in classes, and in the many small ensembles.

For more information, visit music.ttu.edu

2015 School of Music Audition Dates Saturday, February 7 | Saturday, February 21 | Sunday, February 22 | Saturday March 7

2014/15 School of Music Season The School of Music presents another exciting performance season, with more than 300 concerts and recitals, including world premieres and traditional favorites. For a complete list of events, visit music.ttu.edu.

DEPARTMENT OF MUSIC

Admissions & Scholarship

AUDITIONS 2015 AUDITION DATES*

February 21 March 14 March 28

DEGREES Offered:

To APPLY:

Bachelor’s and master’s degrees in Music with emphases in Performance and Music Education

Visit tamuc.edu/Music.

For more information, call 903-886-5303.

*Additional dates upon request. Auditions are required of all entering and transferring music majors.

Performance.

Pride.

Passion.

Show you care B Y

A N D Y

S E A L Y

B

y this time each October, that giddy enthusiasm for marching band has begun to diminish, much like that formerly luxurious summer-band tan.

Those first few pep rallies, ballgames, and out-oftown bus rides are behind us. Most of the drill is on the field, but the stress and tension of competition loom ahead. In the middle schools our beginners have finally gotten the entire instrument assembled, most of the time successfully, but even their raw excitement is becoming tempered by a growing awareness that this music thing is really much more complex than it looks and that they are going to have to practice a lot to get to Carnegie Hall.

It is assumed that directors at all levels are dedicated to our students’ success.

We have all worked very hard establishing the processes and procedures for the daily operation of our classroom and rehearsals. We have set a routine in place and have begun to realize some early indications about the culture we are creating within our programs. Before the daily grind becomes too entrenched, it would be beneficial to take a quick glance at the physical and emotional culture that is evolving.

The band hall or rehearsal room is a good place to start. Keeping this space organized, neat, and efficient seems an impossible and never-ending task.

Moving chairs and stands becomes as much a part of a band director’s day as fundamentals and pulling mouthpieces. We certainly all have our own levels of tolerance for chaos and disorder, but creating and maintaining a welcoming

Students do not care how much you know until they know how much you care. — Dr. Tim /DXW]HQKHLVHU

BAND NOTES IN MEMORIAM A RTHUR MILLER November 7, 1958–July 27, 2014 VINCENT DININO October 25, 1918–September 9, 2014

IMPORTANT DATES October—Renew your TMEA membership and preregister for the 2015 convention.

October 1, 6 a.m. CT—TMEA convention online housing reservation system opens.

October 14—Deadline to receive All-State Jazz audition CDs in the TMEA office.

November 8–9—All-State Jazz judging.

November 15—TMEA scholarship online application deadline (see page 2).

December 31—TMEA convention mail/fax preregistration deadline.

January 10, 2015—Area Band and Vocal auditions.

January 22, 2015—TMEA convention online preregistration deadline.

February 11–14, 2015—TMEA Clinic/ Convention in San Antonio.

Southwestern Musician | October 2014 19

physical environment is every bit as important as greeting the students at the door. And that greeting remains as important as it was on that first day of school.

Also remember that parents and administrators venture into our rooms, too. Our physical classroom environment must be inviting and catalyze musicianship.

Even more importantly, are we still radiating enthusiasm for our craft and for our students as individuals? Our actions and attitudes should make it clear that we have a passion for teaching and making music. Our commitment to young people should be just as obvious, especially to the students themselves. I am sure that as educators we all recognize the need to get to know our students as individuals and that each student brings a unique skill set and personal history to our programs. Developing appropriate relationships with our students includes taking

the time to visit with them individually.

We must assure them that their presence and active participation make the program special. Dr. Tim Lautzenheiser reminds us that “students do not care how much you know until they know how much you care.”

In addition, once in a while take the time to visit with your students about other things than just music, or simply watch the world go by together. I’ve once had the entire marching band sit down on the practice field to watch the sunset. I’ve stopped rehearsal to comment on a Canadian geese flyover. And I can remember talking at length with varsity band students about how things around us have changed since 9/11. Our students grapple with the same intense, difficult social and personal issues that we do, but they do not always have the resources to cope with them. This is where you can

Discounted Convention Housing Available October 1, 6 a.m.

WWW.TMEA.ORG/HOUSING

step in.

The demands of marching band or All-Region auditions tend to sort and sift students in many ways. Sometimes these activities marginalize students unintentionally. For a student to be successful in music, an atmosphere of trust and one where setbacks are viewed as challenges to be overcome must be created and nurtured. We must continue to stress the importance of the individual student and what they are capable of contributing. We must actively pursue ways to align what students are capable of contributing with what they are willing to contribute and reward those efforts generously and often. An inspirational classroom poster will never substitute for a director’s simple, positive acknowledgement of a task well done. This will help our students take much greater ownership in our programs and will help make them more accountable.

TMEA Clinic/Convention Update Remember to renew your TMEA membership if you have not done so, and when you do, preregister for the convention. You must be an active TMEA

APPLY NOW

The University of Texas at Tyler - Center for Music Education OPENING FALL 2015

uttyler.edu/music

903.566.7450 20 Southwestern Musician | October 2014

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

S A T U R D AY

F R I D AY

December 5, 2014

January 24, 2015

March 6, 2015

(VOICE AND K E Y B O A R D O N LY )

F R I D AY

( V O I C E O N LY )

S A T U R D AY

February 28, 2015

January 23, 2015

S A T U R D AY

March 7, 2015

( V O I C E O N LY )

Auditions are required of all entering and transferring music majors.

FOR MORE INFORMATION: Baylor University School of Music One Bear Place #97408 • Waco, TX 76798-7408 www.baylor.edu/music and click on “For Prospective Students” 254.710.7681 • Music_Admit@baylor.edu

member to enter your students in the TMEA audition process. Also, please consider volunteering in some capacity during the 2015 TMEA Clinic/Convention in February. Submit your information online at www.tmea.org/bandvolunteer.

It’s also time to make your convention hotel reservation. The TMEA discounted hotel reservation system opens October 1 at 6 A.M. Central Time. Every year, there are a few hotels with room blocks that sell out just hours after the system is available, so don’t put it off! To review prices and make a convention hotel reservation, go to www.tmea.org/housing.

As we think about what our exciting convention has to offer, I am honored and delighted to announce our slate of conductors for the 2015 All-State Bands. Our students are destined for a tremendous clinic/concert experience with these outstanding educators and musicians.

Steven D. Davis Symphonic Band Conductor At the University of Missouri-Kansas City Conservatory of Music and Dance, Steven D. Davis serves as director of bands and wind ensembles, professor of con-

ducting, Conservatory large ensembles chair, and conductor of the Conservatory Wind Symphony. He coordinates the graduate program in wind ensemble conducting and oversees all aspects of the UMKC band program. Davis is the founding director of the UMKC Wind Band Teaching Symposium, one of the country’s largest conducting workshops.

He is conductor of the Youth Symphony of Kansas City’s Symphony Orchestra

Application Deadline: December 1

www.colorado.edu/music 22 Southwestern Musician | October 2014

and newEar, Kansas City’s professional contemporary chamber ensemble. Davis has served as a conductor at the CBDNA National Convention, Midwest Clinic, NAfME National Convention, and the Festival of New American Music. He has also conducted numerous times at the Interlochen Summer Arts Camp.

As a committed advocate for music education, he has been a guest conductor and teacher at state conferences and honor band and orchestra festivals in 37 states. He has appeared as a guest artist at the most significant conservatories in Thailand, Portugal, and China. Davis has been invited for residencies and conducting symposiums at major institutions such as the Eastman School of Music, Ithaca College, Michigan State University, University of Colorado, University of Georgia, and Florida State University, among others. He has received dedications for over 30 commissioned works. Davis is an elected member of the American Bandmasters Association and currently serves as the College Band Directors National Association Southwest Division President.

Christian University. He is equally at home with professional, university, and youth ensembles. In addition to his regular posts, he has appeared with the Colorado Symphony, the Boulder Philharmonic, the Colorado Music Festival, Ballet Lubbock, the Lubbock Symphony Orchestra, the Quad Cities Symphony Orchestra, the New Symphony Orchestra (Sofia, Bulgaria), and the Western Plains Opera Theater.

Gary Lewis Concert Band Conductor Gary Lewis is the director of orchestras and professor of music in the College of Music at the University of Colorado at Boulder. He is also music director and conductor of the Midland-Odessa Symphony Orchestra. At the university, Lewis conducts the University Symphony Orchestra and oversees the entire orchestra program. He also leads the graduate program in orchestral conducting, including both the master’s and doctoral level.

As a strong advocate for music education, Lewis has presented many in-service workshops for public school educators, as well as numerous presentations at state and regional music education association conferences. In addition, he has conducted all-state orchestras and bands in numerous states, the ASTA National Honor Orchestra, and the Honor Orchestra of America. In 2010 Lewis became the founding artistic director of the Greater Boulder Youth Orchestras and continues to serve as conductor of its Symphony Orchestra.

Prior to his appointment at Colorado, Lewis served on the faculties of Texas Tech University, the Ohio State University, the University of Michigan, and Abilene

Emily Threinen 5A Symphonic Band Conductor Emily Threinen serves as director of bands at the Boyer College of Music and Dance of Temple University. She conducts the Wind Symphony, guides the instrumental conducting program, instructs courses on wind repertory, and provides administrative leadership for all aspects of the Temple University Bands.

Prior to her appointment at Temple University, Threinen served as director of bands and instrumental division chair at Shenandoah Conservatory, director of the Duke University Wind Symphony, director of the Concordia University Wind Ensemble, and director of bands and instrumental music at Harding HS in

Teaching Students Who Want to Become Music Educators? www.tmea.org/scholarships

St. Paul, Minn.

Threinen consistently works with composers, arrangers, and performing artists of varied disciplines. Residencies and projects with composers are integral to her creative work. She is an active guest conductor, clinician, conference presenter, and adjudicator and is published in multiple volumes of the GIA Teaching Music Through Performance in Band book series.

Threinen currently serves on the Board of Directors of the Conductors Guild, and she is an active member of CBDNA, WASBE, NBA, NAfME, PMEA, Pi Kappa Lambda, and Kappa Kappa Psi as an honorary member.

Threinen received a doctor of musical arts degree in conducting from the University of Michigan, a master of music degree in conducting from Northwestern University, and a bachelor of music dual degree in clarinet performance and K–12 instrumental music education from the University of Minnesota.

Steve Owen Jazz Ensemble I Conductor Composer, conductor, and saxophonist Steve Owen is the Philip H. Knight Professor of Music and director of the University of Oregon’s Jazz Studies Program. Under his leadership, the UO Jazz Studies Program has garnered a reputation as one of the finest and most innovative programs in the Pacific Northwest.

In 1991 Owen was one of two winners of the Ersted Award, the University of Oregon’s top faculty award for distinguished teaching, and in 2007 he was likewise honored with the university’s Excellence in Teaching Award. He directs Southwestern Musician | October 2014 23

daddario.com/woodwinds

the Oregon Jazz Ensemble (the first of three large jazz ensembles at Oregon) and two of the school’s ten jazz combos.

Under Owen’s direction, the Oregon Jazz Ensemble has been selected as the Outstanding College Big Band at the Reno Jazz Festival each year the group has attended in the past 13 years.

Owen has presented clinics at NAfME conventions across the nation and has directed all-state jazz ensembles in several states. A composer and arranger of international prominence, Owen’s works have been performed by Bobby McFerrin, Dave Weckl, and Anne Marie Moss, among others, with recent commissions and performances by the Hessischer Rundfunk Big Band (Frankfurt, Germany) and the Taipei Jazz Orchestra. Owen’s CD Stand Up Eight was released in February 2013, featuring nine of his works for large jazz ensemble.

Antonio J. García Jazz Ensemble II Conductor Antonio J. García is a performer, composer/arranger, producer, clinician, educator, and author in instrumental and vocal genres. The director of jazz studies

at Virginia Commonwealth University, he has performed as trombonist, bass trombonist, or pianist with 70 major artists including Ella Fitzgerald, George Shearing, Mel Tormé, Billy Eckstine, Doc Severinsen, Louie Bellson, Dave Brubeck, and Phil Collins and at such venues as Carnegie Hall, Royal Festival Hall, and the Montreux, Nice, North Sea, Pori,

New Orleans, and Chicago Jazz Festivals.

A Bach/Selmer clinician/soloist and avid scat-singer, his book Cutting the Changes: Jazz Improvisation via Key Centers (Kjos Music) offers musicians of all ages the opportunity to improvise over standard tunes using just their major scales.

García is Associate Jazz Editor for the International Trombone Association Journal, board member of the Midwest Clinic, past editor of the IAJE Jazz Education Journal, and Past-President of IAJE-IL, has authored a chapter within The Jazzer’s Cookbook, and is coeditor/contributing author of Teaching Jazz: A Course of Study. His compositions have been published by Kjos, Kendor, Doug Beach, Walrus, UNC Jazz Press, and Three-Two Music. He serves as a Network Expert (for Improvisation Materials) for the Jazz Education Network.

He is the recipient of the Illinois Music Educators Association’s 2001 Distinguished Service Award, a past nominee for CASE U.S. Professor of the Year, and the subject of an extensive interview within Bonanza: Insights and Wisdom from Professional Jazz Trombonists (Advance Music).

• Intensive professional training with a superb liberal arts education—in Music City U.S.A. • Internationally recognized faculty and uniquely personal student/teacher ratio in an undergraduate-only music program • State-of-the-art classrooms, studios, and performance halls—a new dimension in the learning experience • Degree programs offered in instrumental and vocal performance, composition, and musical arts—and five-year Bachelor of Music/Master of Education and Bachelor of Music/MBA programs • Ranked as one of the nation’s top twenty universities

Vanderbilt Wind Ensemble • Thomas Verrier, Director

AUDITION DATES 2014/15 December 6, 2014 • January 23–24, 2015 February 6–7 • February 20–21, 2015 Blair School of Music Vanderbilt University Nashville, Tennessee blair.vanderbilt.edu Dwayne Sagen Assistant Dean for Admissions Dwayne.P.Sagen@vanderbilt.edu (615) 322-6181

Southwestern Musician | October 2014 25

TFME Turns Ten!

T

he Executive Board created the Texas Future Music Educators program in 2004 in response to goals established by TMEA members in attendance at summer conferences in 2000 and 2001. Galena Park ISD was the first to establish a chapter and offered its 24 members multiple opportunities to learn more about studying music in college and preparing for college auditions. In addition to Galena Park ISD, four other chapters were created during the inaugural year of this program: Frenship HS, Montgomery HS, Georgetown HS, and Brewer HS. Since 2004, the Galena Park ISD chapter has expanded its membership to 68, and they continue to offer service to their

music programs and receive valuable information and guidance as they consider futures in music education. Statewide participation has also increased from 5 to 43 active chapters and over 950 students participating. Of those members, 596 attended the 2014 Clinic/Convention.

This year, the Executive Board extended its support to TFME chapters by approving a new travel reimbursement to help more members attend our annual convention. Chapters can also apply annually for $300 grants to help fund their activities.

If your campus or district doesn’t have a chapter, follow the simple steps and create a chapter before November 15. If you have any questions, email kvanlandingham@tmea.org.

Get Started Today!

1. Go to www.tmea.org/tfme to create a chapter—it’s easy!

2. Market TFME to all high school music students.

3. Submit your chapter charter and dues to TMEA.

w!

Ne Convention Travel Reimbursement

4. Request a grant to help your chapter get started.

5. Support TFME members and enjoy the return on your investment!

Questions? Email kvanlandingham@tmea.org

Chapters can request reimbursement of $50 per student for up to 10 chapter members for convention travel expenses. Take advantage of this new opportunity!

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

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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.

26 Southwestern Musician | October 2014

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What I learned (and relearned)

By H. Robert Reynolds

Editor’s Note: Whether you teach band, orchestra, or choir, and regardless of the level, there is much to learn from H. Robert Reynolds’s experience observing some of the great conductors of our time. just observed one of the best rehearsals of my life! The conductor was Andris Nelsons, the new music director of the Boston Symphony Orchestra. He was rehearsing Symphonic Dances by Rachmaninoff with the BSO in the Shed at the Tanglewood Music Center. I’m so lucky to be at Tanglewood for two weeks each summer. It affords me the great privilege of hearing many rehearsals and performances of the BSO with a variety of conductors.

When watching and listening to Nelsons rehearse, I am struck that he really knows the score in all its detail. He not only grasps the big picture but also communicates the smallest gems of musical insight—all with gestures in lieu of words. His gestures always come from the heart and describe his feeling of the music.

At once bold and grand, then suddenly delicate and sensitive, he seems to have absorbed the music into his DNA. Out comes a purely natural gesture—unplanned and spontaneous and often

I

28 Southwestern Musician | October 2014

unusual, perfectly describing his inner feeling of the music and communicating this glorious music to his orchestra.

The BSO, filled with many older well-seasoned members who must have played the Symphonic Dances many times, light up in a way I have rarely witnessed with orchestra pros. It’s not that Nelsons avoids rehearsing like a middle school band director. At times I witnessed him rehearsing only the trumpet section, then the flute section to achieve the smallest detail of what he wanted.

However, this was all done with the greatest joy, striving for the ideal of his inner concept of the details of the Rachmaninoff.

Then with an enthusiastic shout and big smile, out comes, “That’s it exactly!”

I asked several members of the BSO about their experiences with their new director. Rachel Childers, Second Horn in the BSO, offered this about Nelsons: He’s incredibly imaginative and creative. He uses metaphors to capture the feeling and emotion he’d like us to create, and I think the humor and out-of-the-box scenarios are extremely effective at pulling us toward his vision. I also like that he is self-effacing and down to earth—it seems like he sees himself as one of us. It also feels like the

at Tanglewood orchestra is fully engaged and responsive when he is here. He also has asked us to correct several things—like intonation and sloppiness—that the orchestra usually gets away with. My experience here so far has been sans music director, so I’m looking forward to the accountability that comes with having a regular boss! I’m also looking forward to hearing how he’d like to shape the sound of the orchestra, especially in Symphony Hall. I think these next few years will be a great time to be in the BSO! Over my lifetime, I have witnessed many rehearsals of major ensembles and outstanding conductors, including Simon Rattle, James Levine, Valery Gergiev, Eugene Ormandy, Manfred Honeck, Zubin Mehta, Kurt Masur, Leonard Slatkin, Giancarlo Guerrero, Esa-Pekka Salonen, Gustavo Dudamel, and now Andris Nelsons. I guess I’m a rehearsal junkie or maybe just a music junkie. Early on, I used to focus on their stick technique, rehearsal hints and tricks, and what they said. I completely missed the point. When I stopped looking for tricks that click and began absorbing the atmosphere and the way they rehearsed, several ingredients seemed to be common to all. While I witnessed these characteristics when observing top-tier professional conductors,

they clearly can apply to any director of any ensemble: • Complete knowledge of the score in all its details • Knowing from the beginning of the very first rehearsal what they want when it is performance ready • A strong intuitive musical sense • Ability to hear what is being played and how it differs from their idealized concept • Persistence in the pursuit of their ideal rehearsal and performance • A rehearsal balance between objective details and the feeling of the music • Pacing of each rehearsal and pacing of all rehearsals toward a performance • Sensitizing the ensemble to their musical priorities The other ingredient I picked up at these rehearsals, and now especially at Tanglewood, is the sound of really good playing.

It is much more than playing in tune, together, with the right Southwestern Musician | October 2014 29

The one last ingredient possessed by all great conductors is a deeep passion for music and the need to expresss that passion. The players can feel it, and the audience can feel it. It’s a love affaiir that burns deep inside all who truly love music. style, in balance, and with good tone. It is something that one must experience, hear, and sense, not something that can be explained or discussed. We must hear it and make it a part of our aural concepts. I am so glad that I began attending rehearsals of fantastic conductors early in my development. I am a better musician and conductor for it. I have also noticed that members of the BSO play better for the conductors they respect the most— not just the most famous, but those with the deepest musicianship, aural perception, and sensitivity, along with intimate knowledge of the structure of the music.

I first came across Andris Nelsons a number of years ago when I was checking the archives of the Berlin Philharmonic online in the Berlin Philharmonic Digital Concert Hall. The Berlin folks were performing Suite from Der Rosenkavalier, a composition I just love. I had never heard of the conductor (Nelsons), but the Berlin Phil has played the Strauss many times, so I thought no matter the quality of the conductor, the performance would be excellent. Lo and behold, this “unknown conductor” was good—no, really good—

no, someone very special. So when Nelsons was named music director of the BSO, I was thrilled because I would be able to witness his music-making firsthand at Tanglewood. I have certainly not been disappointed.

His joy of music-making is clear, and his nonverbal description of each line of music comes from the feeling he has for the music, not from technique or the correct beat pattern. Yet, when he needs to be clear, clarity suddenly appears. He seems to know intuitively what his players need and don’t need. Perhaps it is talent; if so, then I want more.

There is one thing, however, that I really don’t like about Andris Nelsons— he is just 35 years old. How can anyone that young be that good?

To offer more insider insight, Robert Sheena, English Horn in the BSO, shared the following: Andris Nelsons has the ability to communicate what he wants an orchestra to do with the entire range of gestures. That is to say baton, arms, hands, facial expressions, and verbal instructions in rehearsal—all can have an impact, all can have meaning.

2015 CLINIC/CONVENTION Four days of unparalleled learning and inspiration. www.tmea.org/convention 30 Southwestern Musician | October 2014

In particular, he knows how to conduct legato-sostenuto—how to draw out tension and structure in a phrase with his left hand. That seems to be quite rare among conductors in my experience. Couple that with an uncanny sense of timing and pacing, a deep love of music, and an abiding respect for the orchestra, and you have the potential alchemy for a great and very exciting performance.

The one last ingredient possessed by all great conductors (especially Nelsons), is a deep passion for music and the need to express that passion. In his rehearsals and concerts you can feel that passion, caring, and respect for the music. The players can feel it, and the audience can feel it. It’s a love affair that burns deep inside all who truly love music.

I came away from my time at Tanglewood not with more knowledge but with inspiration. I was truly inspired to be a more joyous musician—a more expressive musician. In the age of “perfect performances,” perhaps we can all be more inspiring, more musical—more like Andris Nelsons.

H. Robert Reynolds is the principal conductor of the Wind Ensemble at the Thornton School of Music at the University of Southern California.

Reynolds will present four clinics during the 2015 TMEA Clinic/Convention as the Band Division featured clinician.

Images of Andris Nelsons by Marco Borggreve.

University of North Texas College of Music

University of North Texas Audition Dates Saturday, January 31, 2015 (Denton)

Regional Auditions

Friday, February 6, 2015 (Denton)

(live jazz and percussion auditions offered on campus only)

(Graduate Percussion, Piano, Voice, and String Auditions ONLY)

Friday, January 23, 2015 (Chicago)

Saturday, February 7, 2015 (Denton)

Friday, January 23, 2015 (Los Angeles)

Saturday, February 28, 2015 (Denton)

music.unt.edu

The next generation of Honor Orchestra contests B Y

C R A I G

ORCHESTRA NOTES

N E E D H A M

I

t’s safe to conclude there has never been a better time for orchestra programs in Texas. In my two decades of teaching we have seen the addition of an All-State group (String Orchestra), an Honor Orchestra (Middle School Full), and a dramatic rise in new orchestra programs.

The level of playing continues to reach new heights. Our All-State Philharmonic Orchestra has begun performing literature that once seemed possible only by our top group. The balance and depth of our Honor Orchestra contests astound the mind. When I started, there were few orchestra assistant positions anywhere. Many programs shared facilities with band or choir. Now, statistics show an upward trend in the number of students participating in Texas orchestras, and this growth has been so dramatic that we’ve even experienced a shortage of qualified string teachers to fill all the positions.

As we grow, so must we evolve our competitive events. At the Orchestra Division business meeting during the 2014 Clinic/Convention, I presented a case for a zoned Honor Orchestra contest. For many years our single-panel system has served us well, but it meant we would have large contests leading to judge fatigue and somewhat irregular results. Michael Alexander effectively dealt with this issue a decade ago when he was Orchestra Division VicePresident by implementing strict limits on CD length and instituting the shorter director’s choice CD for round one. Our high school contests have grown to the point where, even with shorter round-one CDs, the contests are too large to manage in one day with a single panel. The time for a zoned contest has come.

The time to eliminate the shorter round-one CD is here. I presented this case

There are great things happening, and this is an exciting time to be a string teacher in Texas!

IMPORTANT DATES October—Renew your TMEA membership and preregister for the 2015 convention.

October 1, 6 a.m. CT—TMEA convention online housing reservation system opens.

October 15—Postmark deadline (two-day delivery) for HS String Honor Orchestra CDs and other entry materials.

October 18–19—HS String Honor Orchestra judging.

October 25—Area recording date.

November 15—TMEA scholarship online application deadline (see page 2).

November 8–9—First and second rounds of All-State CD judging.

December 31—TMEA convention mail/fax preregistration deadline.

January 22, 2015—TMEA convention online preregistration deadline.

February 11–14, 2015—TMEA Clinic/ Convention in San Antonio.

Southwestern Musician | October 2014 33

to the Orchestra Division and by a nearly unanimous vote, you agreed.

The motion made and carried at our division meeting charged me with the duty of assembling a committee with the task of implementing a zoned contest. I am happy to announce this has now been accomplished and has been approved not only by the committee but by the TMEA Executive Board as well. Thanks go to the following committee members for their tremendous wisdom and insight in creating the rules: Penny Meitz, Michael Stringer, Lisa Batson, and Bryan Buffaloe.

To review the new rules, go to the Honor Orchestra Rules & Entry page under the Orchestra Division menu on the TMEA website. The zone contest rules will be used for both high school contests. Middle school contests must exceed 22 entries before going to a zoned contest. However, the shorter round-one CD is no longer required for any of our contests. When you submit your materials for Honor Orchestra, you will need to submit only one CD, and all tracks will be judged.

A full listing of the zones is on the rules page, but simply put, it is as follows: Zone A is Dallas, San Antonio, and West Texas; Zone B is everyone else. The zones were created based on data from the past five years of contests and are intended to create two balanced zones. These new rules require each Orchestra Division Vice-President during the second year

of their term to form a committee to evaluate the zones. Groups will advance to the finals at a ratio of one group per four entries in each zone. To help with the costs of additional judging panels, the entry fee for all contests has been raised to $250. The Vice-President may select one director entered into a contest to judge in the opposing zone.

The new rules are in effect and will be used for the HS String contest this October. I appreciate all of the input I received from so many of you throughout this process. I believe this new process will serve our division well for years to come.

As you teach this fall semester, take some time to appreciate your chosen career. There are great things happening, and this is an exciting time to be a string teacher in Texas!

All-State Judging All-State judging will take place this year on November 8–9 at Klein Oak HS. Many thanks to Tanner Ledford for hosting this event! All panels except for violin will hear two cuts on day one. Three violin panels will each hear one substantially different cut at the pre-Area contest (day one). This change is to help manage the length of the judging day. This new system should help keep the judging day for violin in line with the amount of time for all the other panels.

Clinic/Convention Update If you haven’t already, be sure to renew your membership and preregister for our convention. You must be an active TMEA member to enter your students in the TMEA audition process. Also, please consider volunteering in some capacity during the 2015 TMEA Clinic/ Convention in February. Submit your information online at www.tmea.org/ orchestravolunteer.

It’s also time to make your convention hotel reservation. The TMEA discounted hotel reservation system opens October 1 at 6 A.M. Central Time. Every year, there are a few hotels with room blocks that sell out just hours after the system is available, so don’t put it off! For this and more about our convention, go to www.tmea. org/convention.

I’m pleased to introduce the outstanding conductors of our All-State orchestras. In addition to attending the Saturday All-State performances, you’ll want to schedule time to observe them in rehearsal during our convention—what a great learning experience!

Thomas Loewenheim String Orchestra Conductor Thomas Loewenheim is a unique musician who enjoys an international career, combining cello performance, conducting, and teaching at the highest levels. He has toured North America, Europe, the Middle East, and the Far East, performing with orchestras, giving recitals, and playing chamber music, and he has been broadcast over the national radio networks in Austria, Canada, Israel, and the United States.

Loewenheim is currently director of orchestras and professor of cello at California State University–Fresno and is the music director and conductor of the Youth Orchestras of Fresno. Previously he taught at the Indiana University String Academy and the Memorial University of Newfoundland and served as music 34 Southwestern Musician | October 2014

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director and conductor of the Musical Arts Youth Orchestra in south-central Indiana.

Loewenheim earned a doctorate in cello performance from the renowned Jacobs School of Music at Indiana University.

He received a master’s degree from the University of Michigan and a bachelor’s degree from the Rubin Academy for Music and Dance in Jerusalem. He also took part in master classes with Yo-Yo Ma, Mischa Maisky, Antonio Meneses, Arto Noras, Aldo Parisot, William Pleeth, and Menahem Pressler, among others.

Jeffrey Grogan Philharmonic Orchestra Conductor Jeffrey Grogan has served as the Education and Community Engagement Conductor of the New Jersey Symphony Orchestra since 2006, leading the NJSO in a variety of concerts each season. His humanistic approach to leadership, coupled with a strong command of skills as a musical communicator, has earned him an impressive reputation with audiences and music programs throughout the country. Grogan also serves as Artistic Director and Conductor of the New Jersey Symphony Youth Orchestra Program, the InterSchool Orchestras of New York and the New Jersey Youth Symphony. In addition, Grogan is Artistic Director of the El Sistema–inspired music program the Paterson Music Project in Paterson, New Jersey, and Artistic Advisor to the NJSO CHAMPs (Character, Achievement and Music Project) in Newark, New Jersey.

Grogan considers his work with

young musicians to be the cornerstone of his career. He has served as adjudicator, conductor, and clinician for several prestigious national festivals. He has also conducted numerous all-state orchestras throughout the U.S., including his home state of Texas, as well as performances with the Little Orchestra Society of New York and the Reno Philharmonic, among others.

Grogan graduated from Stephen F. Austin State University with a bachelor of music education degree. Additionally, he holds a master of music degree in conducting/horn performance from the University of Michigan. Prior to moving to the New York metropolitan area, Grogan was on faculty at the University of Michigan, Baylor University, and Ithaca College. His earliest teaching experience was in the public schools of DeSoto ISD. Philip Mann Symphony Orchestra Conductor Hailed by the BBC as a “talent to watch out for, who conveys a mature command of his forces,” American conductor Philip Mann is quickly gaining a worldwide reputation as an expressively graceful and passionate artist with a range spanning opera, symphonic repertoire, new music, and experimental collaborations. Beginning his fourth season as music director of the Arkansas Symphony Orchestra, previous years shattered attendance records and saw unprecedented artistic growth, new energy, and financial health. Formerly the San Diego Symphony’s Associate Conductor, he conducted hundreds of performances of Jacobs Subscription Masterworks, Symphony Exposed, family and young people’s concerts, Kinder Konzert, pops, and other special programs and projects.

Previously the music director of the Oxford City Opera and Oxford Pro Musica Chamber Orchestra, he has also held conducting positions with the Music in the Mountains Festival and Indianapolis Symphony. Mann has worked with leading artists and maintains a lively schedule

as a guest conductor, having conducted at New York’s Avery Fischer Hall and London’s Barbican Center.

Elected a Rhodes Scholar, Mann studied and taught at Oxford and has served as assistant conductor to Franz Welser-Möst, Simon Rattle, Leonard Slatkin, Jaime Laredo, Mario Venzago, Bramwell Tovey, Pinchas Zukerman, and many others.

At Oxford, he won the annual competition to become principal conductor of the Oxford University Philharmonia.

Mann worked with Leonard Slatkin and the National Symphony Orchestra at the Kennedy Center’s National Conducting Institute and Michael Tilson Thomas at the New World Symphony.

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www.printmusicsource.com Southwestern Musician | October 2014 37

Be a Rising Star in the

School of Music Auditions: November 1, 2014 January 31, 2015 February 21, 2015 March 7, 2015 Request an audition at music.txstate.edu scholarships and assistantships available This advertisement made possible through the Frances Reuser Schneider Endowment at Texas State.

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What piece of music do you know students will love and that challenges them musically?

David Cross, Meridian World School Band, Round Rock: Some of my favorite teaching pieces are the screamer marches of Karl L. King such as The Big Cage, Circus Days, Prestissimo, and Rough Riders. Each of these pieces sound great on the first reading because there is excitement in every part. They become even more rewarding as students are able to add nuance and velocity.

It’s so gratifying when the music takes over and students discover these 70-year-old treasures.

Nicholas Durham, Carthage HS Band, Carthage ISD: Any march! Marches offer a great way to teach technique, style (including contrasting styles within the same march), dynamics, and more. There are hundreds of marches for every level and type of band. This genre is probably the easiest in which to find several compositions that will align with the strengths of your band.

Mark Nichols, La Porte HS Band, La Porte ISD: I love Sleep

by Eric Whitacre. He is a master musician, and it is great to see kids light up when his music reaches them. I enjoy observing them as they listen to the choral version before we play it.

Stephanie Wlodkowski, New Waverly HS Band, New Waverly ISD: My favorite piece of music to teach is Dance Celebration.

Junior high and non-varsity high school students enjoy it. The piece is Grade 1, and it is easy enough for struggling students to learn the notes and rhythms, yet there are still details and challenges for more in-depth study. Each time the melody returns, something new is added or changed to keep things exciting. The

percussion parts are fairly easy to learn. Last year I was working with one of my new percussionists to help him learn to read music, and he was successful at performing this piece. It features the clarinets, and I usually have a fairly strong clarinet section.

Elizabeth Compton, West Ridge MS Orchestra, Eanes ISD: For my third orchestra, which is mostly second-year string students and advanced sixth graders, I always program Themes from the Nutcracker arranged by Carrie Lane Gruselle. A challenging and enjoyable work, it has all the highlights from the March to the Russian Dance. Students learn 3/4 time, triplets, slurs, and bow lifts all while having a good time playing songs they recognize.

Mary Havenstrite, Robinson MS Orchestra, Plano ISD: Students love Point Lookout by Brian Balmages. This is a long programmatic work built on a medley of Civil War tunes. The piece evokes images that range from the desolation of a Civil War battle field to a triumphant victory march. The theatrical demands of the piece inspire students to stretch their musicianship and their technique. This Grade 4 piece requires moderate position work in all parts (e.g., sixth position for the first violin divisi), develops students’ ability to create long sustained phrases, and uses a variety of brush stroke and spiccato bowing techniques. Students will practice for this one!

Amy Allibon, Birdville HS Choir, Birdville ISD: I Have Had Singing by Stephen Sametzby leads students on a joyful journey through this extraordinary poem. The sustaining of the line, eight-part divisi, and flawless, elegant tone required makes it technically difficult, but the students do not grow weary of rehearsing this extraordinary piece that evokes the ineffable in every rehearsal. Any piece by Z. Randall Stroope falls into this category of well-crafted, artistically powerful music that students love to sing.

Southwestern Musician | October 2014 39

Competitive Scholarships & Performance Awards

Audition Dates Jan. 31 â&#x20AC;&#x201C; Feb. 1, 2015 Feb. 28 â&#x20AC;&#x201C; Mar. 1, 2015 (see website for details)

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

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Conducting & Ensembles

Music Literature

Voice & Opera Theatre

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

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

Bruce Cain Kenny Sheppard Nicholas Simpson Agnes Vojtko Dana Zenobi

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

David Asbury, guitar Delaine Leonard, harp Steve Kostelnik, guitar Eri Lee Lam, violin Jessica Gilliam-Valls, double bass Tim Washecka, viola Hai Zheng, violoncello

Music Education

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Lois Ferrari Kenny Sheppard

Jason Hoogerhyde Eileen Meyer Russell Kiyoshi Tamagawa

Woodwinds, Brass & Percussion Anna Carney, clarinet Daniel Chrisman, bassoon Patrick Creel, horn Susan Douglas, oboe David Guidi, saxophone Adrienne Inglis, flute Kyle Koronka, trumpet Erin Martysz, percussion Eileen Meyer Russell, low brass 1001 E. University Ave Georgetown, Texas 78626 (512) 863-1504 music@southwestern.edu www.southwestern.edu/sarofim/music

Edie Cooksey, Madison HS Choir, North East ISD: When choosing repertoire, I try to select pieces that students will love and that present some challenges. Typically I try not to teach the same piece repeatedly, so I can’t list one go-to piece. I can say that a genre that students are guaranteed to love that provides many learning opportunities is spirituals. These are wonderful, historic pieces, usually in English, that provide rhythmic challenges as well as pitch accuracy and vowel placement lessons. You can always find a spiritual that will fit young or advanced choirs and audiences will appreciate them as well.

Heather Orr, Montgomery HS Choir, Montgomery ISD: I like to introduce rhythmically challenging pieces or multicultural pieces for the choir. When approached in an organized manner, these pieces are always fun to work on and definitely rewarding when the students find success.

Dawn Danowski, Askew ES, Houston ISD: My favorite piece to teach is The Star-Spangled Banner. Before I give the lesson, students are very lukewarm about the song. Once we’re through, they are enchanted by the history and embrace the song more fully. There are several reasons I enjoy teaching this to elementary students: (1) I believe it is imperative that every U.S. citizen knows the words to our national anthem; (2) the history behind its writing is so rich—I love telling the story of bombs bursting in air, lighting up the sky such that Francis Scott Key could still see the flag in the usually dark Boston Harbor; (3) I enjoy demystifying the words and bringing meaning to the song (what exactly is a rampart?); and (4) the song is very melodically challenging. I enjoy working with the students to make it sound beautiful. We work on pitch, enunciation, and phrasing to take a difficult song and make it into a work of art.

Gaye Fisher, Windermere PS, Pflugerville ISD: I love teaching about Tchaikovsky. His music is familiar, inviting, and memorable. Students engage when they hear about his troubled life story and the beautiful music created despite that.

What assignments do you give to help students develop a more in-depth knowledge of the music?

Maria Chadwell-Quinlan, Balch Springs MS Band, Dallas ISD: My students complete a project called “History Alive and Well in the Arts” that requires research into the music being prepared for a concert. It can actually be applied to any concert.

I use it with Texas and American History. Students are grouped and assigned a musical selection. Questions they research provide information about the composer, the science and medicine being developed at the time the piece was written, and what was happening around the world. They report on the president or governor who was in office when the selection was written.

Each group creates a PowerPoint presentation shown to parents while their assigned song is being performed. Last but not least, the speaker of the group introduces the musical selection with an abbreviated synopsis of their research. Each student turns in their own research paper before the performance. My principals love this performance because it incorporates the core curriculum.

James Keltner, Memorial MS Band, Harlingen ISD: I encourage our students to use Finale Notepad for All-Region and other auditions. They must input the music themselves. This allows

them to learn the program and the mathematics of music and opens the world of music writing and arranging to them.

Ryan Kersey, Clear Lake HS Band, Clear Creek ISD: Listen to as many recordings as possible! YouTube is very helpful because it’s free and you know your students always have access to it. First find recordings for them—make a playlist for your ensemble.

The first week or two you work on the playlist, push them to listen to it. Add a few more interpretations, especially if the piece includes solos. Then ask them for recording recommendations.

(You may have to give hints about what types or organizations and ensembles to look for.) Ask them which they liked. What did they like about the performance? Was it just tempo and dynamics or do they like the tonal approach too? Create an open dialog about these recordings and encourage them to share ones they like. Go home and listen to their recommended recordings and come back the next day and have a conversation with the entire band about what you found to be good or ineffective within that recording.

Charles Stollon, Churchill HS Band, North East ISD: We do a lot of reflective assignments taken from concert recordings and marching performances. The questions are linked to rehearsal preparation, classroom assignments, and goal setting to keep the students aware of their personal responsibilities and overall input and output capabilities.

Julie Tyler, Navarro MS Band, Lamar ISD: Despite my school being very STAAR-test-driven, I always give music history lessons about the music my beginners are playing. I believe it’s not enough to know what something is; it’s important to know why something is the way it is or how it came to be in the first place.

Terence Guerrero, Midway MS Orchestra, Midway (Waco) ISD: In the past we have walked the students through the process of creating a 12-tone row and then a 12-tone matrix. They then create their own matrix and write a four-part harmony passage.

Afterward we play through the music in class. Watching the reactions of middle and high school students to their own music is always fun, and every now and then someone writes something that sounds quite good!

Liz Householder, The String Society Orchestra, Spring: My students research the composer’s life and write essays on what was happening in that life when the piece was composed. I ask them to tell me what they think the composer wanted his audience to know and then we discuss it in class. The advanced students also analyze basic chord structure in their pieces and mark one, four, five, and diminished seventh chords.

Christina Marioneaux, Gentry JH Orchestra, Goose Creek ISD: My students designed their own project. They wanted to learn how to arrange their own popular music and I was thrilled!

They are constantly practicing their own compositions and they love working in groups on a project. We stick to 32–48 bars of one refrain or verse. When they present them to the class, we have a great time. Sometimes the arrangements are fantastic and we play them for talent shows or for recruiting trips. Sometimes they are terrible and we roll on the floor laughing. Good or bad, we give every composition a round of applause and a 100!

Kelly Dennington, Arlington Classics Academy Choir, Arlington ISD: I have students work on a motif project. They write a simple motif of two to four measures. I select the top three, and they take the motif and expand on it. It takes a bit of time to complete, but they come up with some beautiful pieces!

Southwestern Musician | October 2014 41

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Amanda Ransom, Henry MS Choir, Leander ISD: For some of our concerts I’ve assigned them an in-depth listening review of a rehearsal or performance. The questions are specific enough that the students have to have their sheet music out to reference measure numbers. This forces my middle school singers to listen beyond simply good or bad and listen for all the details that make for a spectacular musical performance.

Erika Warren, Private Instructor, Dallas: I assigned students group projects (with a maximum of three people) that made them think about what they were singing. For example, if my students were singing “Liza (Water Come a Me Eye),” they did research on Jamaica. They had to describe the type of music they were singing, what it meant, why it was a certain genre, and how they could incorporate this type of music into their everyday lives.

I also had them give me examples of other types of music that originated out of Jamaica sung by Harry Belafonte and relate it to Black History Month.

Kristi Savage, Retired, Dripping Springs: When I was teaching elementary music, I loved having fifth graders compose their class song before the end of the year. They composed and arranged everything (with guidance of course). Then they were able to record. Everyone walked away with a CD of their composition before graduation. It’s a great project to apply everything they’ve learned plus it keeps them engaged and wanting to come to music class that last month or two of school.

Sara Yancey, Hodges ES, Lubbock ISD: My fourth and fifth graders did a present-and-teach performance for their parents.

The fourth graders presented Texas Play Party dances and the fifth graders presented contra-dances from the Revolutionary War era. I worked with their classroom teachers to have students research their dance type. I provided the teachers with viable websites and resources to help minimize their extra research. The best papers were shared during the performance in between the presentations. One teacher had her students compose an acrostic poem to go with the words Play Party. It was a great way for the students to learn further about the dances and allowed a wonderful collaboration opportunity for the classroom teachers and me.

Timothy Kochen, San Jacinto College South: This really depends on the level of the student and the group as a whole.

With jazz, I have them memorize the melody and chord changes and then we work on musical language that works within the

What Do You Want to Know?

Email us questions you E want answered in future Tutti installments.

kcross@tmea.org

genre. They compose new melodies for the harmonic structures.

Transcribing other people’s solos and melodies using the same harmony is a great tool for them to more deeply understand the music.

What activity has convinced your administrators and the community that your program is not totally activity- or contest-driven?

Debra Erck, Hill ES, Austin ISD: Every other year, our school’s arts department presents a fine arts festival. We select an overarching idea (usually connecting to another core curricular area, such as science or literature, or a cultural group/region represented in our student population) and use that theme to focus our instruction for the year. In the spring, we have an evening event where the students demonstrate what they’ve learned through an art show, musical performances, and a variety of student-led activities. Families and friends who attend participate in these artistic offerings throughout the evening. We also invite professional artists and organizations from the community to perform and share their expertise with the students throughout the year. Administrators love the amazing attendance and the students get such joy from being the stars—the performers, docents, leaders, and teachers.

Katie Lewis, Maus MS Band, Frisco ISD: We have a beginner band demonstration concert about six weeks into the year and use it as a tool to show the parents the skills their children have already learned. We talk about how they are not only learning the basics of embouchure, fingerings, note recognition, and more, but how they are also learning to complete multiple skills concurrently. This year we plan to show a video about the benefits of music education before the concert so they can see that music helps grow their child in academic, social, and musical ways.

Parents always leave the concert so impressed by the different steps that go into learning a musical instrument.

Norman Sands, Tabasco ES, La Joya ISD: I don’t believe this can be answered by any single activity. It is more of a walk-thetalk philosophy. You must hold yourself and your students to the highest of standards every single day. When administrators and others see the rigor of your program, there is never a question of its value for students in all aspects of their lives—social, emotional, and academic. Always question whether you are teaching songs or you are teaching music. When administrators walk into my classroom, the objective is always posted, the students are engaged in meaningful activities that will help them reach that objective, and the teaching process is clearly evident.

Kimberly Zoeller, Brauchle ES, Northside (San Antonio) ISD: This can be achieved through programs, public performances, and symphony trips—when students play, sing, or perform on the recorder for their parents or guardians. When students go home and are excited about something they learned about in music, they are doing the convincing. Also when at home they are researching and practicing a skill we are working on in class.

For example, when I first introduce opera with the use of several kid-appropriate websites, they go home and visit the websites and share with their parents. I find that soon thereafter, parents ask if we can go to an opera.

Southwestern Musician | October 2014 43

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o you ever feel less than someone else in your profession? Do you compare and measure your choirs and your program against others? Do you question your abilities on a daily basis? Welcome to the club! At times, each of us has these detrimental thoughts and feelings of inadequacy. As Theodore Roosevelt said, â&#x20AC;&#x153;Comparison is the thief of joy.â&#x20AC;? Spending time comparing takes away the energy needed to build and strengthen your program. Rather than comparing in a self-defeating way, turn your thoughts around. Take a calculated look at the people and programs you admire. Are there things they do that you could apply to your program? Ask about their methods. Donâ&#x20AC;&#x2122;t be afraid of what others will think. Water or wither!

Donâ&#x20AC;&#x2122;t let your brain and abilities wither. Instead, commit to learning about something new or do in-depth research into something you thought you knew.

And do it for youâ&#x20AC;&#x201D;for the sole purpose of expanding your mind. The longer we teach, the less likely we are to give ourselves the luxury of true and thorough study. The same could be said for finding music, recordings, appropriate stylings and instrumentation, and historically honest performance techniques.

Discovering (or rediscovering) your learning styles keeps you connected to the students you teach. It can be profoundly effective for your students if, at the same time you are in a position of leadership helping them learn music,

VOCAL NOTES IMPORTANT DATES Octoberâ&#x20AC;&#x201D;Renew your TMEA membership and preregister for the 2015 convention.

October 1, 6 a.m. CTâ&#x20AC;&#x201D;TMEA convention online housing reservation system opens.

November 15â&#x20AC;&#x201D;TMEA scholarship online application deadline (see page 2).

December 31â&#x20AC;&#x201D;TMEA convention mail/fax preregistration deadline.

January 10, 2015â&#x20AC;&#x201D;Area auditions.

January 22, 2015â&#x20AC;&#x201D;TMEA convention online preregistration deadline.

February 11â&#x20AC;&#x201C;14, 2015â&#x20AC;&#x201D;TMEA Clinic/ Convention in San Antonio.

There is no end to education. It is not that you UHDG D ERRN SDVV DQ H[DPLQDWLRQ DQG Ă&#x20AC;QLVK ZLWK education. The whole of life, from the moment you are born to the moment you die, is a process of learning. â&#x20AC;&#x201D;Jiddu Krishnamurti Southwestern Musician | October 2014 45

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solidify skills, and relate to you, you are also in a position of learner, seeking more knowledge.

Immersed in the final stages of a master’s degree (that’s been a long time coming), I’ve found myself in very challenging and scary new places and with many humbling opportunities for clarity in concept and vision. Through this discovery process, I’ve learned a few things that might resonate with you as well: • You are never too old to start something new.

• It is okay to cry in front of your professor (thank you, Dr. Joey Martin).

insight, your integrity, your passion as a musician. That is its own diploma! Seek out and grasp any and all ways to nurture and grow your own educational base. The world of research and its applications in our rehearsal halls is constantly changing.

Research the researcher. Consider finding an excellent instructor for personal voice or instrumental lessons to renew your skills and pedagogy. Be daring and approach composers, performers, authors, and great teachers and invite them to your school. Immerse yourself and your students in their expertise. Every guest in

your classroom presents an opportunity for learning. Challenge yourself to reread a book about your profession or start a new one. When you read something that speaks to you or clears your vision, find ways to apply that to your teaching or in your life right then! Being a lifelong learner not only keeps us on the cutting edge of new discoveries in learning and teaching styles, it also keeps us honest.

As you seek refreshing learning experiences, remember that these are the very types of experiences you are providing your colleagues and your students.

• No one takes notes with paper and pencil anymore. I found this out the hard way, but I still use my old-school method anyway!

• It feels good to be terrified.

• Students love to teach. I have learned so much from the young people in my classes.

• You can never go wrong with simply being kind.

• Admitting lack of knowledge is truly empowering.

• Our students are truly amazing, and we help them get to that point!

You don’t have to take on a dramatically different teaching direction to explore new ideas. Just begin in your own head and in your own classroom today. Consistently working our craft of building great humans through choral artistry and high standards is the greatest “classroom” you could attend. Never doubt or diminish your years of experience, your ear, your

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Everyone has something to teach and everyone has something to learn.

Clinic/Convention Update If you haven’t already, be sure to renew your membership and preregister for our convention. You must be an active TMEA member to enter your students in the TMEA audition process. Also, please consider volunteering in some capacity during the 2015 TMEA Clinic/Convention in February. Submit your information online at www.tmea.org/vocalvolunteer.

It’s also time to make your convention

hotel reservation. The TMEA discounted hotel reservation system opens October 1 at 6 A.M. Central Time. Every year, there are a few hotels with room blocks that sell out just hours after the system is available, so don’t put it off! For housing policies and to make a reservation, go to www. tmea.org/housing.

Very exciting for the members in our division will be the Wednesday evening President’s Concert that features the Swingle Singers. You’ll be inspired by this incredible a cappella group, and even if you’ve been to a performance before, you

won’t want to miss this low-cost opportunity to see them during our convention.

Purchase your tickets when you preregister so they’ll be waiting for you in San Antonio.

Finally, I am pleased to introduce our four All-State conductors. In conversations with these amazing and passionate people, they have contributed largely to my continuing education and are sure to do the same for our All-State students and for you when you observe them in rehearsals and performance.

Charles Bruffy Mixed Choir Conductor Charles Bruffy began his career as a tenor soloist, performing with the Robert Shaw Festival singers. Encouraged by Shaw to pursue conducting, he ultimately was privileged to direct Shaw’s 80th birthday celebration, which aired on American Public Media’s “Performance Today” in 1996. Bruffy has been the Artistic Director of the Kansas City Chorale since 1988 and the Phoenix Chorale since 1999. He is also the Chorus Director of the Kansas City Symphony Chorus. He conducts workshops and clinics across the United States, including the Westminster Choir College Summer Conducting Institute and the Anúna International Choral Summer School. He serves on the Advisory Boards of the Atlanta Young Singers of Callenwolde and WomenSing, as well as Chorus America. His numerous awards include ASCAP’s Adventurous Programming Award, a 2007 Grammy Award for Best Engineered Classical Album, the 2008 Grammy Award for Best Small Ensemble Performance, and two Grammy Awards in 2012, one for 48 Southwestern Musician | October 2014

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Best Engineered Classical Album and one for Best Choral Performance for his work with the Kansas City Chorale on Life and Breath: Choral Works by René Clausen.

Bruffy, a native of Savannah, Missouri, received his bachelor of arts degree from Missouri Western University, a master of music degree in vocal performance and all course work for the doctor of musical arts degree in conducting from the Conservatory of Music at the University of Missouri-Kansas City. He has received honorary doctorates from Baker University and Missouri Western State University.

Kathleen Rodde Women’s Choir Conductor Kathleen Rodde has been a member of the faculty at Iowa State University since 2000. She conducts two women’s choirs, Cantemus and the 100-voice Lyrica. She also conducts a women’s jazz ensemble, Count Me In. Along with conducting, she teaches classes in choral methods and piano skills and assists with the Iowa State Singers. Rodde has appeared as guest conductor and presenter at regional and national ACDA and MENC/NAfME conferences and she has served as the NC-ACDA Repertoire and Standards Chair for Women’s Choirs. An accomplished pianist, she has accompanied groups in numerous festivals throughout the country. Performing groups under her direction have performed at the 2000, 2004, and 2010 North Central ACDA Conferences, the 2004 National MENC Convention, and the 2013 ACDA National Conference. Guest conducting engagements include all-state choirs in Minnesota and Wisconsin and the

2016 ACDA Southern Division Women’s High School Honor Choir. From 1990 to 2000 Rodde served as a member of the University of North Dakota music faculty before moving to Iowa State University.

Many of her articles, arrangements, and editions are published by GIA, Hal Leonard, Mark Foster, and Alfred Music.

Bruce Rogers Men’s Choir Conductor Bruce Rogers is the director of choral activities at Mt. San Antonio College in Walnut, California. He directs the awardwinning Chamber Singers and the vocal jazz ensemble Singcopation. His choirs have achieved top ranking at the national level and in international competitions in Canada, Australia, China, Scotland, Wales, England, France, Italy, Germany, Austria, Switzerland, Bulgaria, the Czech Republic, and China. Rogers’s choirs have performed for California state conventions, ACDA regional and national conventions, and International Association of Jazz Educators National Conferences.

Rogers’s most recent international guest conducting ventures include the AMIS International Honor Band and Choral Festival hosted by the International School at the Hague in the Netherlands, conducting at the ACCET Choral Conductor’s Workshop in Australia, conducting the music of Franz Joseph Haydn in Vienna and Budapest honoring the 200th anniversary of Haydn’s death, and headlining at the Australian National Choral Association Convention in Port Macquarie. Nationally, he has conducted the New York Chamber Orchestra and Festival Chorus at Carnegie Hall several

times. This past July, he served on the jury panel for the International Musical Eisteddfod Competition in Llangollen, Wales. He has presented lectures and adjudicated or conducted all-state and collegiate honor choirs nationally and internationally.

Z. Randall Stroope Small School Mixed Choir Z. Randall Stroope is the Director of Choral and Vocal Studies at Oklahoma State University. He conducts the Concert Chorale and Chamber Choir and coordinates the undergraduate and graduate choral conducting program.

He spends many summers as the artistic director for international music festivals in Europe. Stroope is an American composer, lecturer, and in-demand conductor with engagements around the world.

His compositions have been recorded or performed by prestigious ensembles nationally and internationally, including the Santa Fe Desert Chorale, Luther Nordic Choir, University of Miami Frost Chorale, Cincinnati Pops Orchestra, Oregon Bach Festival, Concordia Choir, Oklahoma State University, United States Navy Sea Chanters, Bella Voce, Turtle Creek Chorale, and Westminster Choir College. Stroope has directed 38 all-state choirs (including each Texas All-State choir), and music festivals in 45 states. His degrees include a master of music in voice performance (University of Colorado– Boulder) and a doctor of musical arts in choral conducting (Arizona State University).

Southwestern Musician | October 2014 51

Wind Band

Congratulations 2014 Mark of Excellence National Class A

National Winners

Arbor Creek MS Honors Band........................................................................Rylon Guidry..................................................................................................Carrollton, TX Grisham MS Honors Band...............................................................................Betty Bierschenk-Pierce......................................................................................Austin, TX Hedrick MS Honors Band................................................................................Nathan Cooley................................................................................................Lewisville, TX League City Int Band.........................................................................................Rick Brockway.............................................................................................League City, TX Maus MS Wind Ensemble................................................................................Katie Lewis.............................................................................................................Frisco, TX Roma MS Symphonic Winds............................................................................Corey L. Graves....................................................................................................Roma, TX

Class AA Bailey MS Wind Ensemble...............................................................................Sara McGarry........................................................................................................Austin, TX Byrd Symphonic I Band....................................................................................Kevin Graham.............................................................................................Duncanville, TX Cedar Park MS Symphonic Band....................................................................Manuel C.San Luis.......................................................................................Cedar Park, TX Chisholm Trail Honor Band............................................................................Tracey A. Redus..........................................................................................Round Rock, TX Henry MS Honors Band...................................................................................Robert T. Herrings, III................................................................................Cedar Park, TX T.A. Howard Honor Band................................................................................Nathaniel Neugent..........................................................................................Arlington, TX Indian Springs MS Wind Ensemble................................................................David Puckett.........................................................................................................Keller, TX Nolan Ryan JH Symphonic Band I..................................................................Josh Mooney.....................................................................................................Pearland, TX Shadow Ridge Honor Winds............................................................................Chris Meredith, Alicia DeSoto.............................................................Flower Mound, TX Sue Wilson Stafford Honor Band....................................................................Christian Holzer....................................................................................................Frisco, TX Trinity Springs MS Honors Band....................................................................Dean Surface...........................................................................................................Keller, TX Westbrook Advanced Band..............................................................................Maria Robichaud......................................................................................Friendswood, TX Wiley MS Wind Ensemble...............................................................................Garland Chiasson..............................................................................................Leander, TX

Class AAA

Argyle HS Wind Ensemble..............................................................................Kathy Johnson.......................................................................................................Argyle, TX

Class AAAA Aledo HS Wind Ensemble................................................................................Joey Paul.................................................................................................................Aledo, TX Forney HS Wind Ensemble.............................................................................Mark Poole............................................................................................................Forney, TX Frisco HS Wind Symphony.............................................................................Gregory Hayes........................................................................................................Frisco, TX Timberview HS Wind Symphony...................................................................Paul Heuer........................................................................................................Arlington, TX Waxahachie Wind Ensemble..........................................................................Rich Armstrong...........................................................................................Waxahachie, TX

Class AAAAA Clear Creek HS Wind Ensemble....................................................................Stephen Meyer..............................................................................................League City, TX College Park HS Wind Ensemble...................................................................Charlotte N. Royall...............................................................................The Woodlands, TX Hillgrove Wind Symphony..............................................................................Patrick M. Erwin...................................................................................Powder Springs, GA Jersey Village HS Symphonic I Band..............................................................Brett Nelson.......................................................................................................Houston, TX Marcus HS Wind Symphony............................................................................Amanda Drinkwater..............................................................................Flower Mound, TX Pearland HS Wind Ensemble...........................................................................Joe Munoz.........................................................................................................Pearland, TX Plano East Senior HS Wind Ensemble...........................................................Evelio Villarreal......................................................................................................Plano, TX Richland HS Honors Band...............................................................................Jason Bird.....................................................................................North Richland Hills, TX Rockwall HS Wind Ensemble..........................................................................Chris Kosterman..............................................................................................Rockwall, TX

New Music Division Kelly Lane MS Wind Ensemble.......................................................................Cynthia Mixon.............................................................................................Pflugerville, TX Pearland HS Wind Ensemble...........................................................................Joe Munoz.........................................................................................................Pearland, TX Pioneer HS Symphony Band............................................................................David A. Leach..............................................................................................Ann Arbor, MI Nolan Ryan JH Symphonic Band I..................................................................Josh Mooney.....................................................................................................Pearland, TX Summit HS Wind Symphony...........................................................................Brad Bonebrake..............................................................................................Arlington, TX

Commended Winners Class A Alvin JH Symphonic Band...............................................................................Kyle Norman...........................................................................................................Alvin, TX Bayside Int. School Symphonic I Band...........................................................Chris Bennett...............................................................................................League City, TX Canyon JH Honors Band..................................................................................Lesley Zorn.........................................................................................................Canyon, TX Creek Valley MS Honor Winds.......................................................................Kim Cooley.....................................................................................................Carrollton, TX Stone MS Honor Band......................................................................................Gina Ervin................................................................................................................Paris, TX

Class AA American Fork JH Wind Ensemble.................................................................Lance Major..........................................................................................American Fork, UT Rickey C. Bailey MS Symphonic Band............................................................Victor Flowers......................................................................................................Spring, TX Beck JH Symphonic Band.................................................................................Brenden Steber.........................................................................................................Katy, TX Cockrill MS Honors Band.................................................................................Gary Williams...............................................................................................McKinney, TX Dowell MS Symphonic I Band..........................................................................Tiffany Lisko..................................................................................................McKinney, TX Dulles MS Honor Band......................................................................................Michael Roberts..........................................................................................Sugar Land, TX Kealing MS Wind Ensemble..............................................................................Mark Gurgel........................................................................................................Austin, TX Kelly Lane MS Wind Ensemble.........................................................................Cynthia Mixon...........................................................................................Pflugerville, TX Reynolds MS Wind Symphony..........................................................................Laura Bell...........................................................................................................Prosper, TX Rice MS Wind Ensemble....................................................................................Jason Tucker..........................................................................................................Plano, TX Robinson MS Symphonic Band........................................................................Kimberly Hernandez............................................................................................Plano, TX Spillane MS Symphonic Band...........................................................................Tom Harrington................................................................................................Cypress, TX Wester MS Symphonic Band.............................................................................Brad Smith............................................................................................................Frisco, TX

Class AAA

North Lamar Symphonic Band......................................................................Randy Jones...............................................................................................................Paris, TX

Special thanks to Wind Band adjudicators Richard Floyd, Steve Davis, and Anthony Maiello. The 2014 Mark of Excellence had 224 entries and has now received entries from 35 states. More information at: www.foundationformusiceducation.org/mark-of-excellence

Wind Band, Orchestra, and Jazz Honors Winners Class AAAA Biloxi HS Symphonic Band.............................................................................Travis Coakley.........................................................................................................Biloxi, MS Georgetown HS Wind Symphony..................................................................Cliff Croomes ..............................................................................................Georgetown, TX Jasper HS Wind Ensemble..............................................................................Jackie Digby..............................................................................................................Plano, TX McKinney North HS Honors Band...............................................................Alan Harkey.....................................................................................................McKinney, TX Pioneer HS Symphony Band..........................................................................David A. Leach................................................................................................Ann Arbor, MI Vernon Hills HS Wind Ensemble..................................................................Randy Sundell...............................................................................................Vernon Hills, IL

Class AAAAA Clements HS Symphonic Band......................................................................Daniel Galloway.............................................................................................Sugar Land, TX Dulles HS Honor Band....................................................................................Joe Pruitt.........................................................................................................Sugar Land, TX Flower Mound HS Wind Symphony.............................................................Brent Biskup, Jana Harvey......................................................................Flower Mound, TX Highland Park HS Wind Symphony..............................................................Reagan Brumley.....................................................................................................Dallas, TX Langham Creek Symphonic Band.................................................................Gloria Ramirez....................................................................................................Houston, TX McKinney Boyd HS Honors Band.................................................................Joe Nunez.........................................................................................................McKinney, TX Seven Lakes HS Wind Symphony..................................................................Damon Archer...........................................................................................................Katy, TX Spring Wind Ensemble....................................................................................Gabe Musella..........................................................................................................Spring, TX

New Music Division Carroll MS Wind Ensemble...........................................................................Michael Oglesby................................................................................................Southlake, TX Cypress Ranch Symphonic Band...................................................................Russell Holcombe................................................................................................Cypress, TX Forney HS Wind Ensemble............................................................................Mark Poole..............................................................................................................Forney, TX

Orchestra

National Winners High School Full Orchestra

Jasper HS Symphony Orchestra.....................................................................Ryan Ross, Jackie Digby..........................................................................................Plano, TX

High School String Orchestra

Clements HS Chamber Strings.......................................................................Ginger Wolfe...........................................................................................Sugar Land, TX Plano East SH Chamber Orchestra...............................................................Betsy Thomas...................................................................................................Plano, TX Plano West Chamber Orchestra.....................................................................Jo Wallace-Abbie.....................................................................................................Plano, TX Stephen F Austin HS Camerata String Orchestra........................................Carolyn Vandiver...........................................................................................Sugar Land, TX Walton HS Chamber Orchestra.....................................................................Perry Holbrook, Sara Grimes...........................................................................Marietta, GA

Middle School Full Orchestra

Faubion MS Full Orchestra.............................................................................Kari Zamora, Brian Beck...............................................................................McKinney, TX

Middle School String Orchestra Beckendorff Honor Orchestra........................................................................Karel Butz..................................................................................................................Katy, TX Murphy MS Chamber Orchestra....................................................................Brian Henson................................................................................................Murphy, TX Sartartia MS Symphony Orchestra.................................................................Ann Victor..............................................................................................Sugar Land, TX

Youth Orchestra

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

Commended Winners High School Full Orchestra Dulles HS Full Orchestra.................................................................................Michael Isadore.............................................................................................Sugar Land, TX Klein Oak HS Symphony.................................................................................Tanner Ledford, Chris Rapacki......................................................................Spring, TX

High String Orchestra Clark HS Chamber Orchestra........................................................................Brian Eaton, Brad Davis...................................................................................Plano, TX Clements HS Sinfonia......................................................................................Ginger Wolfe.................................................................................................Sugar Land, TX Memorial Sinfonia...........................................................................................Bingiee Shiu, Danielle Prontka........................................................................Houston, TX James E. Taylor HS Orchestra........................................................................Clinton Capshaw.......................................................................................................Katy, TX

Middle School Full Orchestra

Sartartia MS Symphony Orchestra................................................................Ann Victor, Julie Amos................................................................................Sugar Land, TX

Middle School String Orchestra Aragon Chamber Orchestra............................................................................Sarah Lopes........................................................................................................Houston, TX Pike Varsity Orchestra.....................................................................................Cecilia Dixon...................................................................................................Justin, TX TH Rogers Chamber Orchestra.....................................................................Ellen Lawrence....................................................................................................Houston, TX Woodcreek JH Chamber Orchestra..............................................................Bryanna Porter, Kate Mathews.................................................................................Katy, TX

National Winners

Jazz

High School Jazz

Harlingen HS Jazz Ensemble..........................................................................Ronnie Rios........................................................................................................Harlingen, TX

Middle School Jazz Glades MS Concert Jazz Band........................................................................Erich S. Rivero..........................................................................................................Miami, FL McMath Tiger Jazz Band.................................................................................Travis E. Harris......................................................................................................Denton, TX

Commended Winners High School Jazz Spring Jazz Ensemble.......................................................................................JD Guzman...............................................................................................................Spring, TX Temple HS Highlighters..................................................................................Brent Mathesen.....................................................................................................Temple, TX

Middle School Jazz

Lamar MS Jazz Factory....................................................................................James Hairston.........................................................................................................Austin, TX

Thanks to adjudicators Jeffrey Grogan (Orchestra) and Steve Wiest (Jazz). This yearâ&#x20AC;&#x2122;s project had 224 entrants. The Mark of Excellence program has now received entries from 35 states. More information at: www.foundationformusiceducation.org/mark-of-excellence

Percussion

Congratulations 2014 Mark of Excellence National Percussion & Choral Honors Winners High School Percussion Ensemble

National Winners

Cypress Ranch Percussion Ensemble......................................................................Kyle Stahl........................................................................................................................Cypress, TX

Middle School Percussion Ensemble

Rickey C. Bailey MS Percussion Ensemble............................................................Austin Swack, JD Guzman, Vic Flowers.......................................................................Spring, TX

Commended Winners High School Percussion Ensemble

Marcus HS Percussion Ensemble............................................................................Kennan Wylie.....................................................................................................Flower Mound, TX

Middle School Percussion Ensemble

Cook MS Percussion Ensemble...............................................................................Michael Dick, Robert Carlin......................................................................................Houston, TX

National Winners

Choral

High School Mixed Chorus Klein Oak HS Chorale...............Michael J. Goede.........................Spring, TX Pearland HS Chamber Choir....Derrick Bready.......................Pearland, TX

Commended Winners High School Mixed Chorus Cinco Ranch HS Chorale..........Dorothy Wilson..............................Katy, TX Spring HS Chorale.....................David Landgrebe........................Spring, TX

High School Open Class Spring HS Chorale Women......David Landgrebe, Amanda Hinders.......................Spring, TX

Middle School Treble Choir Beckendorff Jr. High Varsity Girl’s Choir....................Janett Menzie..................................Katy, TX Cook Middle School Advanced Girl’s Choir................Stefanie Stephens....................Houtson, TX

High School Open Class Berkner High School Varsity Men’s Choir....................Douglas Council.................Richardson, TX

Middle School Treble Choir Canyon Ridge MS Varsity Treble Choir...................Courtney R. Kelly......................Austin, TX

Middle School Open Class

Middle School Open Class Labay Middle School Tenor Bass Choir........................Kristen Jackson..............................Katy, TX

Downing MS Varsity Tenor Bass Choir........................Kimberly Rybowicz......Flower Mound, TX

Thanks to adjudicator Michael Burritt (Percussion) & Dianne Brumley (Choral)! This year’s project had 224 entrants. The Mark of Excellence program has now received entries from 35 states. More information at: www.foundationformusiceducation.org/mark-of-excellence

GS NOW AVAILAB N I D R O LE! REC National ional Windd Bandd • Chorall • Orch O Orchestra rcheestra ra • JJazz azz • Percus Percussion ssioon Ho Honors H onoors oonors

Co Compilation omp ppilation iilation il laati ttiiio on recordings reeecordings di d ings of th he Mark Ma Ex ellllen nccee National Na attiiio onaal Winners Win Wi eccord ding of the Mark of of Excellence Exccelle N Nati Winneers wiilll now no ow b ow offfe of fffe fered as fer as an an MP3 MP3 download MP dow do ownload ad through throu th ou ugggh h MarkCustom.com M Ma arkC ar Cu ust stom.co om will bee offered MarkCustom MarkCusto 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 Na National ationnal Winners represent the top 25% of the entries, and demonstrate stunning musical achievement and exemplary teaching!

In 2014 the project had 224 entries, and has received entries from 35 states. t View and access the Mark website and catalog at http://www.markcustom.com For more information infoormation on the Mark of Excellence visit www.foundationformusiceducation.org/mark-of-excellence 54 Southwestern Musician | October 2014

Perform for Arts Education Days at the Capitol Who: What: When: Where: Why:

Texas fine arts students Arts Education Days at the Capitol March 4–5, 2015 Texas State Capitol To champion fine arts education Go to www.tcqae.org to apply.

O

n March 4–5, 2015, the Texas Coalition for Quality Arts Education (TCQAE) will host its 12th Arts Education Days at the Capitol. Each day will be a celebration of the importance of the arts and arts education featuring performances by outstanding arts students (music, art, theater, and dance) from throughout the state.

The first day will begin at 9:30 A.M. with an orientation on the day’s events. At 10 A.M., students will deliver information about Arts Education Days and the importance of the arts to state legislators and the Texas Education Agency. Beginning at noon on both March 4 and March 5, student groups including jazz bands, orchestras, choirs, dance ensembles, theater performers, and art students will perform in the capitol rotunda and on the south steps.

This is an incredible performance opportunity for your students and is an equally significant advocacy opportunity. With the State Legislature in session, your presence at the capitol demonstrates the result of their support for quality music education opportunities for all students. Apply now to be a part of this exciting event! Go to www.tcqae.org to learn more and apply.

Give your students an experience they’ll never forget and show our state’s decision makers why they must continue to support quality music education.

It’s Not Too Late to Apply for a $1,000 Middle School Music Grant Apply by October 15 to be eligible | www.tmea.org/msgrant

T

he TMEA Executive Board created a grant program to support middle school music programs and approved $500,000 in funding. The TMEA staff is administering the program, which will allow middle school band, orchestra, and choir teachers (grades 6–8) to purchase sheet music for use during this school year. Go to www.tmea.org/ msgrant and apply by October 15.

To apply, middle school music teachers must be active TMEA members (go to www.tmea.org/membership to renew). You must provide an exact list of the music you intend to purchase, the supplier, and the cost. You must have a written quote from the supplier. Suppliers must be TMEA Sustaining Members on the Approved Vendor list (available from the grant information webpage). Grants will be approved based on existing overall budget, sheet music budget, number of students served, and other criteria as called for in the online application. Once a grant 56 Southwestern Musician | October 2014

is approved, and music is ordered and shipped, TMEA will pay the supplier directly.

Who Can Apply: Active TMEA Members teaching middle school band, orchestra, or choir (grades 6–8) Deadline: October 15, 2014 Where: www.tmea.org/msgrant For What: Sheet music only (not for books or compilations of methods, techniques, warm-ups, etc.)

For How Much: A maximum of $1,000 per division (band, orchestra, vocal) per campus will be awarded Notification: Applicants will be notified by November 15 of acceptance or rejection Questions? Email Deputy Director Frank Coachman at fcoachman@tmea.org

Department of Music 2014-2015 Auditions December 6 Woodwinds, Brass, Percussion, Strings February 21, 28 ALL Areas May 2 Non-Scholarship Auditions for: Woodwinds, Brass, Percussion, Strings

The University of Texas at San Antonio 210.458.5333 http://music.utsa.edu

Everyone can use a hand

by Karen Cross

B

eing a music educator is such a privilege and joy because we get to help students discover a love of music and support them as they develop lifelong musical skills. This is the kind of comment we often hear from music educators across the state when they share why they do what they do. At the same time, others tell us about how they have to fight for budget dollars and community support or about their struggle simply to find a way to do their jobs well without overextending themselves and neglecting their personal lives.

The reason many join this profession is their burning passion for music and the desire to share that with others. But what happens when the myriad responsibilities and seemingly insurmountable challenges threaten to extinguish the fire of that passion? Some will decide to walk away from their chosen profession, and this often happens just a few years after dedicating their educational career to preparing for this opportunity. While that might ultimately be the right decision for some, before any teacher gets to that point, we want to ensure they had the support anyone entering this profession would need. To that end, TMEA created the Mentoring Network—a group of veteran teachers who serve as mentors to any teacher who could use their support.

New teachers join the network as protégés, as do experienced teachers who are new to Texas or who are simply seeking additional support to help them succeed.

To offer a better view of how the mentor-protégé relationship can be beneficial, we asked four mentors and their protégés to offer their perspectives of participating in the program. Last 58 Southwestern Musician | October 2014

month, we featured insights from the four protégés, and this month we’re pleased to offer the experience of their mentors.

Whether you are a new or veteran teacher, take a moment to learn from each of these members. Then visit www.tmea.org/mentor to read more and register.

Thanks go to the following mentors for taking the time to share their thoughts: Mary Ellen Cavitt, Professor and Associate Director, School of Music, Texas State Univ; Joshua Harris, Former Choir Director, Current Piano Teacher, Margaret Talkington School for Young Women Leaders; Betty Vacek, K–4 Music Teacher, Gregory-Portland ISD; Bud Woodruff, Orchestra Director, Deer Park HS. Why did you join TMEA’s Mentoring Network?

Mary Ellen: I thought it would be fun to help someone I don’t know. Any success I’ve had in the musical world is because of the mentorship I received along the way, so I’m happy to try to pay that forward. In the process, I have found it beneficial to visit secondary schools and learn about current trends, music preferences, and a variety of teaching methods. When I return to Texas State, I am able to share this information with our university students.

Joshua: I started working in Lubbock ISD last year and shortly into the school year was asked to help out with a clinic that a teacher was putting together. I noticed that he had a lot of potential and could simply use some guidance in a few areas. Someone had suggested that we join the mentoring program, so we did, and I became his mentor. My participation has helped me realize

Your Sheet Music Wishes...

As an Approved Vendor for the TMEA middle school sheet music grant program, our sales staff is ready and available to help you submit your grant request for up to $1000 per division (band, orchestra, choral).

To view, listen and make lists of sheet music for your middle school music program, visit

Create your list and contact us for an immediate proposal for use in your grant application.

www.penders.com Grant application period: Sept. 15 to Oct. 15 For details: tmea.org/programs/ms-music-grant Free shipping on all qualifying TMEA grant orders.

LET US PERSONALLY ASSIST YOU Call or visit one of our locations: 314 S. Elm | Denton, Tx 76201 | Denton Area: 940-382-7124 | Toll-Free: 800-772-5918 2650 Midway Rd, Suite 230 | Carrollton, Tx 75006 | DFW Metro: 972-818-1333 | Toll-Free: 866-589-0751

how far I have come as a teacher and given me more confidence in the way that I am teaching.

Betty: I have taught in schools with no guidance and in others with a wonderful support system. I truly appreciate other educators’ advice and ideas, so I was excited to mentor a beginning teacher. Mentoring made me more aware of successful methods and ideas that I could share.

Bud: I wanted to give assistance to anyone who needed it and would request it.

What advice would you offer protégés to help them get the most out of their relationship with their mentor?

Mary Ellen: Prior to your first meeting, prepare a list of questions for your mentor. You may want to ask them to demonstrate a particular skill for you, so consider recording their visits.

During the first visit, you might want your mentor to teach an entire class so that you can observe them and get to know them better. Then on a subsequent visit where your teaching is being observed, establish in advance whether they will give feedback during or after class. If you have any trepidation, ask for feedback

after class. You can also prepare your students to understand that you have invited your mentor to give comments in front of them.

Most students love that you are continuing to learn and respect your commitment to excellence. As a mentor, I am careful not to give feedback that would in any way belittle the protégé in front of their students.

Joshua: The best advice I could give a protégé to get the most out of their mentor is to communicate what they need. There is nothing wrong with admitting you have a weakness that you would like to strengthen. Also, if there is an area in which you don’t believe you need help, communicate that. A mentor does not want to waste time giving advice in an unneeded area.

Betty: Although I haven’t been able to meet with the protégé with whom I’m working, it would have been nice to do so. I appreciated that Savannah realized that I also had a very busy schedule. She emailed me when she had questions and I responded as soon as I could. I would, however, suggest that meeting in person would be very valuable to this process.

Bud: Be honest, be vulnerable, be patient. There has never been a perfect teacher. Do not be afraid to ask what you believe

Be part of a rich tradition of excellence in vocal music Sing at Tarleton State University!

COURSES OF STUDY: Bachelor of Music, Education - All Level Certification Bachelor of Music, Performance

Dr. Iwao Asakura Assistant Professor (254) 968-9243 | asakura@tarleton.edu

Bachelor of Arts in Music (with optional emphasis in Music Business) Scholarship auditions are held during the spring semester. Contact Dr. Troy Robertson to schedule an audition.

Dr. Heather Hawk Assistant Professor (254) 968-9453 | hhawk@tarleton.edu

Dr. Troy Robertson Director of Choirs (254) 968-9240 | robertson@tarleton.edu

Visit tarleton.edu/music for more information!

60 Southwestern Musician | October 2014

to be a silly or dumb question. All you are going through is simply preparation for you to become a mentor someday and to help someone else with the same questions you are having.

Did you have a mentor who helped you?

Mary Ellen: I’ve worked with many great mentors and teachers along the way! I think it is so important to find the right mentor for you at each stage of your teaching/learning. My most important mentors were Marion West and Tom Bennett during student teaching, Eddie Green while band directing, and Bob Duke for teaching at the university level.

Joshua: I still ask advice on occasion from my mentor Tammy May, who is currently at Pampa JH. Something I learned from working with her is that everyone has to find their own style of teaching. When you take advice from someone, you have to adapt it and make it your own. If you try to mimic exactly what someone else does, it won’t always work.

Betty: At one district early in my teaching career we had a wonderful music supervisor who hosted meetings where she shared her Kodály training, and all of the music teachers shared ideas. I still utilize many of the lessons and activities I learned there. My current district allows the music teachers to gather whenever grade-level teachers are planning curriculum. That has been an invaluable opportunity for us to collaborate on curriculum, lessons, activities, and technological advances.

Bud: When I started teaching in public schools, I really could have used a mentor! I was constantly asking different orchestra directors questions, but getting few answers. The typical response was, “When you figure it out, let me know.” I was moved to help others to avoid the same situation. The greatest help and best advice came from Connie (Brouillette) Stavinoha, Marty Koran, and Jay Dunnahoo (my high school orchestra director my senior year). Their advice was primarily about position in general and music selection strategies. I will always be grateful for them.

What overall advice would you offer new teachers?

Mary Ellen: Don’t worry about trying to appear as if you know everything! There’s too much to know, and we are all still learning. Find a local teacher with more experience and ask questions.

They will appreciate and respect that you ask for help!

Joshua: Make sure to have your classroom management techniques worked out. Be very clear and consistent on your expectations from the very first day. And never talk over your students if they begin talking while you a trying to teach. They need to understand that what you are saying is important and deserves their full attention.

Betty: Establish your class environment as an exciting musical adventure and create simple routines that each class will follow.

Classroom management should be structured, positive, and consistent. Communicate with nonverbal signals as much as possible. Mark the specific spots where students will sit with tape, Velcro, or similar, and eventually make a seating chart for each class. Most districts have a curriculum to follow. If not, utilize the school’s textbook adoption, ask other teachers, or research online to find what best fits your students and accomplishes the TEKS. Realize there will be terrible days, scheduling conflicts, unexpected challenges, and even unfounded criticism. Don’t take any of it personally.

Bud: The one most critically important thing to bring to the

teaching arena is sincerity. If you do not really want to be there, the kids will sense it immediately and will shut down. If you love teaching, they will do anything for you. Next, you have to love your subject and love leading others to love it, too. Lastly, your focus must be on your students and music, not yourself. If you do these three things, you will succeed even if you never get a superior rating at contest.

What’s important for mentors to remember in this role?

Mary Ellen: I think it is important to know that a young teacher is counting on you for help. Many young teachers quit within the first five years of teaching, so it’s important that we try to help them get through these early years.

Joshua: Understand that you don’t have to have all the answers to be a good mentor. Sometimes you don’t even realize what useful knowledge you have until you start working through a problem or question that your protégé brings up. Be willing to open up about your own struggles—this will make your protégé feel more comfortable sharing with you. A mentor should observe the protégé’s teaching around the beginning of the school year and discuss their observations. It may also be valuable for the protégé to observe the mentor teaching classes.

Betty: Mentors must realize that time is the biggest factor.

However, email communication permits some flexibility. Your own busy schedule sometimes inhibits attention to the protégé so it helps for them to feel welcome to initiate communication as well.

Bud: There is a difference in teaching someone and guiding someone. Your job is not to teach your protégé, but to help guide them through difficult times. Your job is not to dictate to them how to teach, or to control them, either. I try to never tell my protégés what to do in their classroom. I have given them options, discussed the pros and cons of each, and told them what’s worked for me, but they have to decide what to implement in their program.

TMEA Convention Housing Opens October 1, 6 a.m.

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October magic B Y

C O L L E E N

R I D D L E

T

he following lyrics are from “Autumn Leaves,” a gorgeous song in la pentachord: “Autumn leaves are falling, nights are growing chill. Maple leaves are turning red along the hill.” This song would be great to share with your elementary students during these spectacular fall months. It can be found in the first-grade textbook of the 2004 Spotlight on Music series. Appealing to all elementary grades, I suggest sharing it with your second and third graders. The song lends itself beautifully to hand motions, scarves, or improvisational movement. Emphasize the simple ta, ti-ti, quarter-rest rhythm patterns as the students read the words and then read the rhythms. Add the melody, phrase by phrase, using the echo-response method. Add the motions. Lead the students in singing the entire song with motions. Then ask them to sing the song by substituting the rhythm syllables for the words. Adding the Orff instruments will be the icing on the cake. Combine all elements of this lesson and perform it for the homeroom teacher, the school custodian, or school nurse.

Isn’t it magical how songs that are la-centered or have minor tonalities have such a calm, soothing effect on young children? When students feel relaxed and in a peaceful mood they tend to be much more focused on the task at hand.

Weave your magic spell all month long in your music classroom with alluring songs in minor modes. The following are a few songs in minor tonalities that your students might enjoy this month: “Skin and Bones,” “Ah, Poor Bird,” “Canoe Song” partnered with “Land of the Silver Birch,” “Brother Martin,” “The Birch Tree,” and many beautiful folk rounds such as “Debka Hora.”

Melodic and rhythmic motifs from these pieces can readily serve as instrumental ostinatos for Orff accompaniment purposes. Second- and third-grade

ELEMENTARY NOTES IMPORTANT DATES October—Renew your TMEA membership and preregister for the 2015 convention.

October 1, 6 a.m. CT—TMEA convention online housing reservation system opens.

November 15—TMEA scholarship online application deadline (see page 2).

December 31—TMEA convention mail/fax preregistration deadline.

January 22, 2015—TMEA convention online preregistration deadline.

February 11–14, 2015—TMEA Clinic/ Convention in San Antonio.

When students feel relaxed and in a peaceful mood they tend to be much more focused on the task at hand. Weave your magic spell all month long in your music classroom with alluring songs in minor modes.

Southwestern Musician | October 2014 65

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5

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32

13,605

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students should be ready to begin playing these repeated patterns using the following sequencing:

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66 Southwestern Musician | October 2014

• Review instrumental skills from first grade, including names of instruments, correct hand positions, posture, and proper sticking skills, emphasizing a loose wrist and light bouncing of the mallets on the center of each xylophone bar. (For more on that topic, read my column in last month’s issue, available online at www.tmea.org/emagazine.)

• Prepare, present, and practice songs consisting of do. Later add re. Song lesson repertoire may include ti; however, save the formal presentation of reading and recognizing ti for upper elementary grades.

• In first grade, students played fifths or drones on beats one and three of four-beat rhythms with hands together and later with hands alternating. Review this skill through the middle of October or until most students have mastered this technique.

• Students who are waiting their turn for an instrument should lightly pat the beat on their laps while singing the song. As they take turns, students could sing another verse of the song or recite a poem that relates to the piece as they are getting into position.

It is extremely rewarding when the class can perform on the instruments and seamlessly switch parts without stopping and restarting the performance. (Your students are definitely under your spell when this happens.)

• Allow students to take turns on the instruments frequently during the song. This best practice keeps students engaged because they are eager to have another turn playing the instruments. It also instantly cures many discipline incidents when the teacher motions for an off-task student to skip a turn.

• Select the rhythm portion from one phrase of your lesson’s song. For example, ta, ti-ti, ta, rest. Use this as the ostinato. Have students practice tapping the rhythm in their hands using only two fingers of one hand tapping into the other hand.

• Transfer this skill to the instruments. Select the do of the song or the la in a minor piece. Instruct students to play the rhythmic ostinato on one designated bar of the xylophone with alternating hands.

• Divide the students into two groups and have one group play the ostinato on the first phrase followed by the second group playing the ostinato for the second phrase on a different note such as the third or fifth above the do or la.

• Now combine the groups and let students play the same rhythmic ostinatos on the two harmonic notes together. I guarantee every student will be smiling when the song is over. They will not want music class to end!

• Continue with these techniques with curriculum songs throughout the school year. Students may play different pitches on the instruments so that they are creating the chords of the piece. I strongly suggest not asking students to play two or more complex rhythms at the same time. This ability will develop at a later age after much practice and reinforcement.

Third Grade • Review all skills learned in second grade. Ask students to suggest an ostinato for the class to perform.

Review songs consisting of do, re, mi, sol, and la. Perform these songs with singing, Orff accompaniment, and play-party games. Have students rotate from singing to playing instruments to playing the game. All three components can be happening simultaneously.

• Prepare, present, and practice songs with added pitches of low la, low sol, and high do throughout the school year.

• Repertoire should include songs with half notes and whole notes as you gradually add these note values to your lessons.

• Begin warm-up exercises on the xylophones with students going up and down the xylophone alternating hands. This should be practiced very slowly at first. To first introduce this skill, I use the song “Whacky

Do Re Mi” from Music K–8, Volume 11, #1. After teaching this song, this is one of the rare times I use a CD in my classroom. The recording is energetic and the students respond well to it. Third, fourth, and fifth graders love to play and sing this song! When do is sung, students lightly tap the C bar. For re they tap the D bar and so on up the C major scale, alternating hands for each note. For added interest I teach students how to play a tremolo on each of the pitches of the C scale. Students waiting their turn show hand signs for all of the pitches of the scale. This activity is always a class favorite.

• Continue with warm-up exercises with students playing C1 to C2 on the xylophone ascending and descending using alternating hands.

The sound created should be light and pleasing to the ear. Students should be ready to play an adaptation of movable drones. With the left hand on do, the right hand alternates between sol and la. The pattern would be do with sol, and then do with la.

Repeat this pattern throughout the song. The rhythmic pattern would be ta, ta, ta, rest.

• I suggest asking the students to click their mallets together lightly on the rest portion on the fourth beat of the rhythmic pattern. This enables them to feel the beat accurately and also assists students having trouble with keeping the beat to get back on track.

• Remember to provide a visual cue for all students, especially English Language Learners, by modeling the correct technique as the students are performing. This can be achieved by using an actual xylophone or an image of a xylophone that you refer to as the piece is performed.

• Continue with adaptations of these third-grade skills throughout the school year. Aim for a seamless lesson incorporating the methodologies of Orff, Kodály, and Dalcroze.

Enjoy the wealth of song repertoire centered on activities in October. With proper planning and strategic sequencing, students will begin to believe that you

actually do have a magic wand!

2015 TMEA Clinic/Convention Update If you haven’t already, be sure to renew your membership and preregister for our convention. For all the latest information on the convention, go to www.tmea.org/ convention. To volunteer to serve as a presider, office helper, or in registration, go to www.tmea.org/elementaryvolunteer and complete the online form, or email me at criddle@aldine.k12.tx.us.

It’s also time to make your convention hotel reservation. The TMEA discounted hotel reservation system opens October 1 at 6 A.M. Central Time. Every year, there are a few hotels with room blocks that sell out just hours after the system is available, so don’t put it off! For this and more about our convention, continue to visit www. tmea.org/convention.

The elementary clinic sessions will be power-packed with the latest music publications and successful teaching ideas, and you’re sure to be inspired by the performances of our invited groups. Look for news on our TMEA Invited Choirs and Orff Ensembles in future issues.

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Southwestern Musician | October 2014 67

COLLEGE NOTES IMPORTANT DATES Octoberâ&#x20AC;&#x201D;Renew your TMEA membership and preregister for the 2015 convention.

October 1, 6 a.m. CTâ&#x20AC;&#x201D; TMEA convention online housing reservation system opens.

October 10â&#x20AC;&#x201D;College Division Fall Conference in Austin.

October 15â&#x20AC;&#x201D;Call for papers for inclusion in the 2015 College Research Poster Session.

November 15â&#x20AC;&#x201D;TMEA scholarship online application deadline (see page 2).

December 1â&#x20AC;&#x201D;Essay contest entry deadline.

December 1â&#x20AC;&#x201D;Composition contest entry deadline.

December 31â&#x20AC;&#x201D;TMEA convention mail/fax preregistration deadline.

January 22, 2015â&#x20AC;&#x201D;TMEA convention online preregistration deadline.

February 11â&#x20AC;&#x201C;14, 2015â&#x20AC;&#x201D;TMEA Clinic/ Convention in San Antonio.

68 Southwestern Musician | October 2014

Different, yet the same B Y

M I C H E L E

H E N R Y

A

t this point in the school year, we are immersed in our own world of responsibilities. Our to-do lists are long and complicated and, as college faculty members, almost certainly include a number of items we are solely responsible for completing. Our job descriptions, like us, are unique. Letâ&#x20AC;&#x2122;s face itâ&#x20AC;&#x201D;we are specialists. We are experts in a highly defined area within our field, and we are focused on that work. We know more about what we do than anyone else. In many ways, it can feel like we are on an island as its sole inhabitant.

Yet we know that is not really true. We are preparing future music educators.

We are invested in music being taught to children. We care about best practices and about having the highest quality music teachers possible in the field. We are advocates for the discipline as a whole, and we want our students and future graduates to be similarly articulate advocates. What we do matters beyond our own classrooms and research efforts. And in this sense, we are certainly not the sole inhabitant or even on an island at all.

In fact, we are natural collaborators. Those of us who taught in public schools likely sought out opportunities to collaborate at every turn, with our music and other arts colleagues, as well as those in other disciplines. We encourage our students to do the same during their student teaching experiences and in the positions they obtain after graduation. Many of us continue to collaborate with colleagues in the public schools. Whether providing opportunities for our students to teach or observe or to have access to student musicians for our research, we are modeling collaboration that hopefully benefits all parties involved. Within each of our own campus environments, we collaborate with

We collaborate with our colleagues to create ZHOO URXQGHG PXVLFDOO\ SURĂ&#x20AC;FLHQW DQG LQWHOOLJHQW musician-teachers. We collaborate in teaching.

We collaborate for performances. We collaborate for recruiting.

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 Harry Blake...................Director of Bands Dr. Sarah Burke ............Assistant Band Director/ Percussion John Dujka ......................Piano/Music Theory Dr. Craig Garrett .........Jazz Studies/Trumpet Brian Klekar..................Jazz Studies/Saxophone Karen Blake ..................Color Guard/Woodwinds

Larry Campbell ............Tuba/Euphonium John McCroskey ..........Trombone Marie McElroy ..............Flute Dr. Eric Miller ..................Double Reed/Music Theory Felipe Vera .....................French Horn Steven Winter ..............French Horn/Trumpet Dr. Joel Plaag .................Director of Vocal Studies/ Aural Music Daniel Bircher ..............Assistant Director of Vocal Studies Lauren Shelton .............Voice Vicki Wehmeyer...........Voice and Piano Cheryl Amelang ...........Accompanist

Pat Daugherty ..............Accompanist Leah Jorgensen.............Accompanist Robert McElroy ...........Accompanist Linda Patterson............Accompanist Bryan Campus Chris Hoffman .............Director of Vocal Studies Nannette Pope.............Accompanist Dr. Sterling Allen ..........General Music Nicole Cherry..............Violin Diedra Lawrence .........Viola Prudence McDaniel.....Cello Dr. Alan Strong .............General Music

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our colleagues to create well-rounded, musically proficient, and intelligent musician-teachers. We collaborate in teaching.

We collaborate for performances. We collaborate for recruiting.

Another opportunity for collaboration occurs within the College Division of TMEA. Because we are committed to the highest quality music education, and therefore to the highest quality music educator preparation in the nation, we work together and learn from each other to make each of our individual programs stronger, while strengthening the voice of music education within our state.

This year’s annual College Division Fall Conference provides an opportunity for us to collaborate in just this way. The fall conference will be held on Friday, October 10, from 10 A.M. to 3 P.M. at the TMEA headquarters in Austin. At this year’s conference, we will focus on things that are the same for all of us—public schools, private schools, two-year or fouryear schools, large programs, small programs—some issues affect us all. We will also look at how we differ, and how each of our programs offers something valuable to the music education landscape. By seeing how each of us fits into the larger paradigm of music teacher education and how each program is unique, we can discover ways to work together and learn from each other to make our programs and Texas music education stronger. I hope to see you all there. To reserve a place, email Michele_Henry@baylor.edu

by October 1.

Another opportunity for exploring issues that affect us all is by attending

the College Division’s featured clinician sessions at the 2015 TMEA Clinic/ Convention. This year, we are pleased to have Ann Clements and Kelly Parkes presenting. Their sessions will focus on a wide range of topics for those in music teacher training—both college faculty and college student members. By attending their sessions and contributing to the discussion, we again strengthen our discipline from top to bottom, from the inside out.

As you think about attending, be sure to renew your membership and preregister for the convention at www.tmea.org/ membership. As of 6 A.M. Central Time on October 1, you can make a convention hotel reservation from www.tmea.org/ housing. Be sure to reserve early this year as many of our hotel room blocks sell out quickly—some within a matter of hours!

Ann Clements Featured Clinician Ann Clements is on the music education faculty of the Pennsylvania State University School of Music, where she teaches undergraduate and graduate music education courses and supervises graduate theses and dissertations.

Clements received her training at the University of Washington (doctorate and master’s degrees in music education) and the University of Puget Sound (bachelor’s degree in music education). In addition to university appointments at Penn State

University, Susquehanna University, and the University of Washington, she taught secondary music in Washington state and served as a researcher in New Zealand for the Ministry of Maori Affairs department. She is the coauthor of A Field Guide to Student Teaching in Music and a contributing author to several other music teacher training and choral music books.

Clements currently serves on the editorial board for Update: Applications of Research in Music Education.

College Division Fall Conference Reunite with Colleagues Share Ideas Work Together Better

OCTOBER 10 10 A.M. to 3 P.M.

TMEA Headquarters • Austin Southwestern Musician | October 2014 71

Clementsâ&#x20AC;&#x2122;s interest in music and culture has led her to explore the effect of technology on learning and its subsequent use in teaching. Two of her presentations will focus on the impact of learning and teaching in a digital world, in particular approaches to teaching students based on gaming theory. In addition, she will present an innovative approach to instruction using technology that is currently being developed within the Big 10 consortium of schools of musicâ&#x20AC;&#x201D;a potential opportunity for Texas faculty to consider a larger form of collaboration for music teacher

training. In her fourth session, Clements will focus on identifying personal soundscapes within our culture.

Kelly Parkes Featured Clinician Kelly Parkes is on the music education faculty of Virginia Tech Universityâ&#x20AC;&#x2122;s School of Performing Arts, where she teaches courses in graduate music education and supervises field experiences. A native of Australia, Parkes has degrees from the Australian National University and the University of Sydney,

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

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

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as well as a masterâ&#x20AC;&#x2122;s degree from Florida International University and a doctorate from the University of Miami. Parkes is well known both nationally and internationally for her work in assessment, having recently chaired the NAfME Special Research Interest Group in Assessment, and serving as cochair of the Model Cornerstones Assessment project. She currently serves on the editorial board for the Journal of Research in Music Education and is the chair of competitions and research for the International Trumpet Guild.

Parkesâ&#x20AC;&#x2122;s work in assessment is timely, as TMEA and TMAC continue to explore effective means for assessment across the state. Yet she also has an important word for practitioners in the field looking for real world assessment strategies. This session is ideal for college student members, who will enter the profession with expectations for assessment at an all-time high. In addition to assessment, Parkesâ&#x20AC;&#x2122;s sessions will address research and strategies for effective teacher training through developing teacher identity, as well as research findings concerning the dispositions of 21st-century music educators, both important considerations for those of us mentoring future music educators.

Call for Papers The call for papers for the 2015 College Division Research Poster Session has been issued. The deadline for consideration is October 15, 2014. For more information, go to www.tmea.org/divisions-regions/ college/call-for-papers.

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