October 2015 Southwestern Musician

OCTOBER 2015

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OCTOBER2015 8 4

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I S S U E

contents

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features

V O L U M E

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To Everything There Is a Season . . . . . . . . . . . . . . . . 12 Learn how TMEA continues to grow and change by reading this annual report of our association.

BY DINAH MENGER

From Worst Division to First Division . . . . . . . . . . . . 23 Discover what it took to turn around a struggling music program in this rural West Texas town and how you might apply these strategies.

BY STAN MAULDIN

Overcoming the Sightreading Stigma . . . . . . . . . . . . 34 When you change the perception and change the process, you can help your singers become independent musicians.

BY AMY MOORE

Changing How I Teach Using the New TEKS . . . . . . . 43

columns

Get an overview of the new TEKS and how this elementary educator KDV PRGLÀHG KLV LQVWUXFWLRQ WR PHHW WKHLU UHTXLUHPHQWV

BY PATRICK R. LOLLIS

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

Music Is Essential . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

by Keith Dye

TMEA has released a new advocacy video promoting music education for all students. Share the video and share the message.

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

by Robert Floyd

Band Notes ............................................................ 17

by Andy Sealy

Orchestra Notes .............................................. 29 Vocal Notes ........................................................... 39

by Robert Horton

Elementary Notes .......................................... 48

by Juli Salzman

College Notes ..................................................... 56

by Michele Henry

updates

by Penny Meitz TMEA Offers Undergraduate and Graduate Scholarships .................... 2 TMEA Clinic/Convention: This Is The Best Place to Learn! ................... 8

On the cover: James Baik performs with the McMeans JH Camerata Orchestra (Katy ISD), the 2015 TMEA MS/JH String Honor Orchestra. Photo

by Karen Cross.

Southwestern Musician | October 2015

1

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

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

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

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

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

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

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

College Vice-President: 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 To be eligible, complete all application requirements by November 16.

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

TMEA offers undergraduate scholarships for applicants who enroll in a music degree program at a Texas college or university leading to teacher certification. Encourage your best and brightest seniors to apply and submit all supporting materials by November 16.

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

Are you in an undergraduate music education program?

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

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

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

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

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

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

Go to www.tmea.org/scholarships

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

6XEVFULSWLRQ UDWHV 2QH <HDU ² 6LQJOH FRSLHV 3HULRGLFDO SRVWDJH SDLG DW $XVWLQ 7; DQG DGGLWLRQDO PDLOLQJ RIĂ&#x20AC;FHV 32670$67(5 6HQG DGGUHVV FKDQJHV WR 6RXWKZHVWHUQ 0XVLFLDQ 3 2 %R[ Austin, TX 78714-0465. Southwestern Musician was founded in 1915 by A.L. Harper. Renamed in 1934 and published by Dr. Clyde Jay Garrett. Published 1941â&#x20AC;&#x201C;47 by Dr. Stella Owsley. Incorporated in 1948 as National by Harlan-Bell Publishers, Inc. Published 1947â&#x20AC;&#x201C;54 by Dr. H. Grady Harlan. Purchased in 1954 by D.O. Wiley. Texas Music Educator was founded in 1936 by Richard J. Dunn and given to the Texas Music (GXFDWRUV $VVRFLDWLRQ ZKRVH RIĂ&#x20AC;FLDO SXEOLFDWLRQ LW KDV EHHQ VLQFH ,Q WKH WZR PDJD]LQHV ZHUH PHUJHG XVLQJ WKH QDPH 6RXWKZHVWHUQ 0XVLFLDQ FRPELQHG ZLWK WKH 7H[DV 0XVLF (GXFDWRU XQGHU WKH editorship of D.O. Wiley, who continued to serve as editor until his retirement in 1963. At that time ownership of both magazines was assumed by TMEA. In August 2004 the TMEA Executive Board changed the name of the publication to Southwestern Musician.

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Southwestern Musician | October 2015

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PRESIDENT’S NOTES

B Y

K E I T H

D Y E

Taking a progressive look forward

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usic Educators in Texas, especially those of us who work in performance ensemble settings, are truly blessed. We work in an environment where we have received relatively consistent support for our efforts for almost 100 years. If we examined the support of these endeavors in most Texas communities over this timespan, we would mostly see a steady upward trend. It is no longer rare to see three or four directors in school settings where a few decades ago there may have been only one or two. We now regularly see colleagues engaged in much more specialized roles, teaching a specific instrument family or limited voice parts. All of this is positive, but it does not overshadow the reality that some programs and areas still lack support.

The optimistic position in which most Texas music educators find ourselves was realized by those who came before us. It was earned by the strong, enthusiastic impressions our predecessors left on their students and communities. It continues to earn a place of respect and necessity by the work of every music educator. We are in a most favorable position to contemplate how

This support enables us to carefully contemplate how any implications voiced might strengthen what we do for our students moving into the future.

4

Southwestern Musician | October 2015

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

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

November 16—TMEA scholarship online application deadline.

December 31—TMEA mail/fax convention preregistration deadline.

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

There is at least a fragment of validity in each of these claims, and as in most discussions, one’s perspective greatly influences one’s opinions. Again, my primary question is whether our programs would benefit by considering the closest scrutiny of how we work to accomplish our objectives. I think yes!

Let’s face it, in each of our post-

The Pursuit of Excellence.

Audition Dates: February 6, 2016 (No Percussion) February 20, 2016 February 27, 2016 (Vocal Only) March 18, 2016

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• the quality of the repertoire has often been saturated to a point of little musical value;

elementary grade schools, even colleges and universities, there are students in attendance whose lives could benefit from appropriate music instruction experiences. In each of these schools the preponderance of music activities most often requires prerequisite skills or understanding. It is estimated that at any given time only approximately 20% of our high school students are enrolled in music education offerings. I’d like to believe that everyone would agree that we owe opportunities to at least some of the other 80% even if we face obstacles that make

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• the majority of the music we perform in these setting is not authentic to our students;

• the main focus of instruction is not comprehensive musical learning but rather mastery of very narrow skills to better compete in adjudicated venues.

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we want music education in Texas to be maintained and how we want it to evolve in the future. We truly have a strong foundation from which to look forward in planning for the needs of our students of tomorrow.

I began by noting that Texas music education is, especially at the secondary level, overwhelmingly based on performancebased ensemble experiences. Many of you are well aware that this is not the case across the rest of our nation. Throughout the United States, many view music education primarily as a general academic pursuit. They would submit that only a small percentage of students participate in ensemble music and that an approach that delivers music education in a more general fashion holds not only the possibilities of reaching more students, but also the potential for a greater impact on a student’s entire life. My objective here is not to weigh who is right or wrong, but rather to benefit from considering all options and viewpoints.

All TMEA members should be aware that this general discussion is prevalent in many communities and states throughout our country. I believe these ideas are often fiscally motivated. They might also be driven by a philosophical viewpoint that does have some elements of merit.

I believe we should also be participating in this discourse. Why? Because most of us are in the enviable position of having overwhelmingly positive support. This support enables us to carefully contemplate how any implications voiced might strengthen what we do for our students moving into the future. Given this unparalleled support, are we not the music educators in this country best positioned to consider all aspects and options?

Some of the most extreme claims I’ve heard have stated that ensembles (band, choir, orchestra) as we know them are obsolete or dying. This notion is accompanied by numerous claims including:

• prerequisite skills prohibit involvement to all but those students entering tracks of instruction at an early age; and Southwestern Musician | October 2015

5

those opportunities appear somewhat impractical.

Over the past 10 to 15 years, important movements and concepts that address this 80% have emerged. Two examples are Patricia O’Toole’s Shaping Sound Musicians, which came out of Wisconsin’s Teaching Comprehensive Musicianship Through Performance initiatives, and the extensive Teaching Music Through Performance series published by GIA. These are but two notable resources among many that offer ideas and approaches that could enable us to respond appropriately to the valid concerns that have been voiced. Additionally, evolving technologies are allowing those with little background in traditional

musical composition and performance to engage in musically creative processes.

Ultimately, it remains the resolution of the individual director or instructor to facilitate the variety and quality of each student’s musical experiences.

It is this topic that led me to suggest that our Executive Board invite Tod Machover to be one of our 2016 convention keynote speakers. As the Director of the MIT Media Lab’s Opera of the Future group, Machover is an active composer of symphonic music whom the L.A. Times called “America’s Most Wired Composer.” He is one of the developers of various interactive technologies that resulted in the basis of the responsive technology behind

Discounted Convention Housing Available October 1, 6 A.M. CT WWW.TMEA.ORG/HOUSING MDNH \RXU UHVHUYDWLRQ HDUO\ DV KRWHOV ÀOO XS TXLFNO\

Rock Band and Guitar Hero. I believe that the diversity and cutting-edge experiences that Machover brings as a musical performer, engineering innovator, and composer could widen the perspective of all in attendance.

He is uniquely a classically trained musician who for the past three decades has also been engaged in some of the most progressive work developing accessible music platforms for all on a broad scale. He works musically and creatively with some of the world’s most accomplished musicians as well as school-aged students and others of all generations.

I encourage you to visit his website, www.todmachover.com, to learn more about him prior to the convention. I also invite you to attend both his keynote during the Friday morning General Session and Q&A clinic following that General Session. Regardless of your age or background, I challenge you to consider broadening your perspectives as a music educator in the 21st century. I hope Tod Machover’s work and words might help accelerate that exercise with you as it has with me.

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Southwestern Musician | October 2015

Music

TEXAS WOMANâ&#x20AC;&#x2122;S UNIVERSITY | DEPARTMENT OF MUSIC AND DRAMA

SCHOLARSHIP AND ENTRANCE AUDITIONS

Saturday, January 23 and February 20, 2016 Undergraduate Degrees in Music Music Education, Music Therapy, Performance, Liberal Arts

Graduate Degrees in Music Music Education, Music Therapy, Pedagogy, Performance For more information, contact the TWU Department of Music and Drama at 940-898-2500 or music@twu.edu

TMEA Clinic/Convention INCLUDING THE TI:ME MUSIC TECHNOLOGY NATIONAL CONFERENCE FEBRUARY 10–13, 2016 SAN ANTONIO, TEXAS HENRY B. GONZALEZ CONVENTION CENTER

EXHIBITS

CONCERTS

! y a d o T er t s i g e r e Pr

CLINICS

This Is the Best Place to Learn!

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

MAKE PLANS NOW TO BE THERE tmea.org/convention October 1: Housing Online tmea.org/housing At 6 A.M. CT, the discounted housing reservation system is available. TMEA negotiates the lowest rates possible for TMEA members, so don’t wait to make your reservation. Some hotels sell out in hours!

Technology Preconference tmea.org/preconference When you register, be sure to add on the Wednesday TI:ME Music Technology Preconference—a full day of learning technology solutions for classrooms, rehearsals, organization, notation & more!

W W W . T M E A . O R G / C O N V E N T I O N 8

Southwestern Musician | October 2015

B Y

R O B E R T

F L O Y D

EXECUTIVE DIRECTOR’S NOTES

More than music

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

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

November 16—TMEA scholarship online application deadline.

December 31—TMEA mail/fax convention preregistration deadline.

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

n a recent early-morning run with Cameron, our border collie, I ran into a neighborhood friend who stopped to tell me he was in the midst of listening to an audio version of The Art of Possibility, a book written by Benjamin Zander, former conductor of the Boston Philharmonic, 2010 All-State Symphony Conductor, and keynote speaker at that same TMEA convention. Several years ago, when this friend shared with me that he was reading this same book (he has since read it twice), he was most impressed to find out I knew Benjamin personally and was even more impressed when I gave him a personally autographed copy of the book I had obtained when Benjamin was at the convention.

My neighbor, a highly successful consultant and executive in several hightech companies these past few years, would say that he doesn’t know anything about music. But he pointed out that in this third experience with the book, he gained a completely different perspective, given this audio version includes musical examples offered by Zander at the piano. The music took it to a whole new level of understanding. My friend has become so enamored with Maestro Zander’s message that he has made the book required reading for the employees and leadership teams of the companies for which he has consulted.

So what is the power of Zander’s message and how does it transcend the music world? He encourages us to explore the collaborative possibilities our life presents us in creative and innovative ways, and he tells his

The aim of education is to enable students to understand the world around them and the talents within them so that they can become IXOÀOOHG LQGLYLGXDOV DQG DFWLYH FRPSDVVLRQDWH citizens. —Sir Ken Robinson Southwestern Musician | October 2015

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story weaved around his lifelong experiences in music, in teaching and through conducting. Since 2000, Zander has spoken to thousands of business executives worldwide, has delivered a compelling TED Talk, and certainly gave an eloquent keynote at the 2010 TMEA convention. I encourage you to view it on our website at www.tmea.org/2010keynote.

This experience reminded me of a conversation I had over 20 years ago with a Dun & Bradstreet vice-president on a flight to Boston. She managed their software department and expressed frustration over her struggles to get her programmers to collaborate to produce a final product. She shared that her brightest programmer, whom she was attempting to get involved in employee collaboration and teaming, had recently told her, “I do not work with people; I only work with computers.” When I shared with her our struggles to keep music alive in schools and discussed the residual benefits of a rigorous music ensemble experience that included the collaboration she was seeking, she exclaimed, “That is exactly what we are missing in the corporate world!”

In defending music’s presence in the curriculum, I personally struggle with the appropriate advocacy message for our audiences, whether it is the Legislature, the State Board of Education, or school administrators and leadership teams. Of course, we all believe music should be present in the curriculum as an essential

10 Southwestern Musician | October 2015

component of a well-balanced education.

And while it does resonate with some audiences, as musicians we don’t want to have to defend its place in the curriculum because of its capacity to complement cross-curricular learning, contribute to elevated STAAR test scores, or enhance creative and innovative skills so necessary in a 21st-century workplace.

However, we must take advantage of the messaging from the likes of Benjamin Zander, a D&B vice-president, or a Dan Pink, who passionately asserts that “the keys to the kingdom are changing hands, and the future belongs to a very different kind of person with a different kind of mind—people who will now reap society’s richest rewards and share its great joys.” In his keynote address to the 2009 TMEA convention and in his book A Whole New Mind—Why Right Brainers Will Rule the Future, Pink shares that a cornerstone of such skill development rests in the fine arts classroom. An edited version of this keynote video is available on the TMEA website at www.tmea.org/2009keynote.

Similarly, Sir Ken Robinson (our 2007 and 2014 convention keynote speaker), in his new book, Creative Schools, speaks about the grassroots revolution that’s transforming education. He devotes several pages commending Texas for the passage of HB 5 and for recognizing that we must allow students to pursue their passion and not attempt to place each in a one-size-fits-all graduation program

driven by testing and accountability.

As Sir Ken states, “The four basic purposes of education are economic, cultural, social, and personal.” Further, he suggests that there are eight core competencies that schools should facilitate if they are really going to help students succeed in their lives in these four areas. Six of those eight competencies are directly tied to a rigorous, meaningful fine arts experience—curiosity, creativity, criticism, communication, compassion, and collaboration. Sir Ken’s first TED Talk, posted over eight years ago, still holds the record for the most TED Talk viewings.

If you have never watched it, I encourage you to do so. It will entertain, inspire, and motivate you (available at www.ted.com).

So how are these remembrances relevant to us today? The TMEA Executive Board as well as this staff devotes much time to discussing and evaluating how to effectively advocate for music education and how to offer members tools to assist you in advocating for your programs at the local level. This past year the Board approved funds to develop a short video about the importance of elementary music. That video is now available at www.tmea.org/musicisessential and introduced on page 55 of this magazine.

Currently nearing completion is another video we will host online to help elementary music teachers educate their principals on the importance of sending them to the convention. TMEA is also running a full-page color ad with a similar message in the November issue of TEPSA News, the statewide publication of Texas Elementary Principals and Supervisors Association.

In addition, we will continue printing some of the latest music education advocacy research in future issues of the SOUTHWESTERN MUSICIAN and are planning to publish a printed resource that will speak to the virtues and benefits of rigorous music study. We certainly welcome your input into how the board and staff can assist you in this endeavor.

Remember that our website has a wealth of information that may prove valuable to you, and we will be adding new information and research to the advocacy section on a regular basis.

Blinn College Scholarship awards are available!

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

December 19, 2015 January 23, 2016 March 5, 2016 April 16, 2016 May 14, 2016 or by scheduling an individual appointment

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

Our outstanding music faculty members are waiting for you!

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

Jeffrey Hill.....................Double Bass Dr. Jeremy Marks ........Trombone Marie McElroy .............Flute Robert McElroy ..........Special Assistant/ Recruiting Dr. Eric Miller .................Double Reed Kendall Prinz ..............Assistant Band Director/ Low Brass Jill Stewart ....................Clarinet Felipe Vera ....................French Horn Steven Winter .............French Horn/Trumpet Brenham Campus (Vocal) Dr. Paulo Gomes ........Choir Director Dan Bircher .................Director of Vocal Studies

Lauren Shelton ............Voice Cheryl Amelang ..........Accompanist Pat Daugherty .............Accompanist Leah Jorgensen............Accompanist Dr. Linda Patterson ....Accompanist Cindy Schulz ................Accompanist Bryan Campus Chris Hoffman ............Director of Vocal Studies Nannette Pope............Accompanist Nicole Cherry.............Violin Diedra Lawrence ........Viola Prudence McDaniel....Cello Dr. Alan Strong...........General Music

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

www.blinn.edu/vpa/auditions

By Dinah Menger

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2 014 – 2 015 T M E A A N N U A L R E P O R T

ow well into our school year, fall brings us cooler nights, skittering leaves, concerts, auditions, and the exhilarating promise of winter break. While we work diligently in our rehearsal halls, construction on the expanded Henry B. Gonzalez Convention Center continues with a planned completion date of December 2015. This means that our 2016 TMEA Clinic/Convention will take place in a shiny, new, spacious facility. If the finished product is even half as impressive as what the Executive Board saw on their tour of the ongoing construction this July, convention attendees will indeed be in for a treat. The new convention center includes expansive exhibit and ballroom space, rehearsal room pods, several sets of escalators for smooth traffic flow, and green space for rest and relaxation. This new building remodel and extension will be a change for all of us. Make plans now to be part of the first group of music educators to christen our new gathering place. While it’s exciting to look forward to these changes, our purpose here is to review our association’s previous year through this annual report.

I’m definitely pleased to offer this most positive account of our thriving association in which we can all be proud to be members!

statewide representation, impact on all three performance divisions, classification size, and a proactive allowance for population growth in certain areas of Texas. The Executive Board and UIL reviewed alignment concerns, suggestions, and solutions during its September board meeting, and the final plan for Regions and Area alignment will be introduced prior to the February 2016 TMEA Clinic/Convention. This realignment will go into effect in the 2016–2017 school year.

Membership Strength in numbers shows in our continued rise in active, student, and retired TMEA memberships. Connecting with each other across the state and unifying as a force to be reckoned with, our organization continues to be an example of how to infuse daily student life with music. We ended our last year (July 1–June 30) with 12,024 active members, 3,837 college members, and 751 retired members. These numbers make up the majority of the more than 17,000 total membership. Thank you for maintaining your membership in this vital organization.

Texas Future Music Educators Chapters continue to grow in our quest for building future directors in band, orchestra, choir, and elementary music. The best job in the world begins with a foundation of experience and knowing that we, as teachers, can help lead our future colleagues in making decisions about what they want to pursue in college and why. TMEA boasts 40 TFME chapters with 970 active members. Consider beginning a chapter on your campus or in your district. Learn more and start a chapter at www.tmea.org/tfme.

Region/Area Realignment Beginning in March 2014, the TMEA Executive Board began a statewide Region and Area realignment with consideration of geographic concerns, equality of student opportunity, 12 Southwestern Musician | October 2015

Mentoring Network The Mentoring Network is such a vital program sponsored

by TMEA. It is imperative that we communicate with and support our teachers, especially those new to the field. Our network continues to strengthen and to incorporate willing mentors who foster relationships with those new to education or those new to Texas. Please consider volunteering as a mentor. We ended last year with 178 pairings of mentors/protégés. Offering ideas, sharing experiences, or simply listening can be a huge resource for our new colleagues. To enroll as a mentor or protégé, go to www.tmea.org/mentor.

Financial Status The financial health of our organization remains steady, thanks to the diligence of the Board and our team of financial experts who are vigilant and conservative in watching over and protecting our organization’s funds. Because of this, generous

scholarships and grants were given in 2014–2015 and reserve funds continue to exceed a two-year cumulative budget.

Grant Funding The Elementary Music Classroom grants given during the 2013–2014 school year were received with such a positive reaction that the Executive Board voted to focus on the middle school music population with sheet music grants for the band, orchestra, and choral divisions. During the 2014–2015 school year, TMEA awarded 819 grants for a total of $762,267.

Scholarship and Scholars As we witness each year during TMEA general business meetings, the opportunity to award scholarships to outstanding students is a tangible way to acknowledge and support our young people in their quest for wanting to be one of us! Thank you for your continued donations to the TMEA Scholarship Fund. This past year, TMEA awarded 75 scholarships totaling $192,000. Another excellent way our best music students were acknowledged was through the Texas Music Scholar program. Last year, TMEA designated 2,211

students from 241 campuses as Texas Music Scholars. Continue to acknowledge the students in your program who deserve recognition with this award.

84th Legislative Session TMEA continued to have an effective presence at the capitol throughout the 140-day 84th legislative session. The primary objective of Executive Director Robert Floyd, along with lobbyists Matt Matthews and Michelle Smith, was to not lose ground on the successes reflected in HB 5 during the 2013 session. Those gains were primarily related to the new graduation programs which include an Arts and Humanities endorsement and limitations on pull-out from our music classes for test preparation and remediation. TMEA also successfully lobbied with other educational and publishing groups to secure full funding for Proclamation 2015.

These dollars provided local districts with an instructional materials allotment to purchase new instructional materials for fine arts.

I am pleased to report that fine arts is better protected in state law than at any time in recent history.

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14 Southwestern Musician | October 2015

State Board of Education TMEA was most successful in preventing a list of seventeen CTE courses from being approved to meet the one-credit fine arts graduation requirement for all Texas students. These recommendations by the CTE TEKS Writing Team were rejected in their entirety in a unanimous vote by the State Board of Education. In addition, TMEA successfully worked with TEA staff and the SBOE Committee on Instruction to adopt new middle school rules that require campuses to provide students the opportunity to take three of the four fine arts disciplines in grades 6–8. Schools may appeal to the Commissioner of Education to reduce that number to two if the total middle school district enrollment is fewer than 250 students. Rules continue to reflect law that requires a student to successfully complete one fine arts course in grade 6, 7, or 8.

TEKS Update TEKS revisions were adopted in 2013 and are now in place. These can be found on the TMEA website. The new TEKS have been carefully studied and

tweaked and offer our teachers tangible guidelines, expectations, and assessment markers. Have your TEKS visible in your classroom as a reminder of where you began and where you are going in leading your students to music appreciation and literacy.

A Vital Source and Force TMEA is a strong presence in the lives of its many members, as a voice at the capitol, in the creation of lifelong memories for student musicians, for the opportunities provided in clinics and poster sessions,

and in the grooming of future teachers and fine arts supporters. Let music live!

Dinah Menger is TMEA President-Elect and Director of Choral and Elementary Music at Fort Worth ISD.

2015 Clinic/Convention With 26,756 convention attendees, the 2015 TMEA Clinic/Convention was one of the most well attended in our history.

With opportunities to attend clinics and concerts, as well as connect with professionals from across the state and the nation, the TMEA convention continues to provide a February boost to music educators and students. The 2015 convention marked the final one in the structure as we know it. At next yearâ&#x20AC;&#x2122;s convention, we will experience the newly refurbished center.

Our convention fees will also be increased. Convention registration fees will increase for the following membership: Active member convention registration will increase from $50 for preregistration and $70 for on-site registration to $60 and $80 respectively.

Convention registration fees will also increase for Retired members from $15 to $20. College student memberships will increase from $20 to $25. This is the first increase in fees in 15 years.

All-State Process Review The TMEA Executive Board reviewed the audition process for the new Small School All-State Mixed Choir and, with suggestions from Region and Area Chairs, made some tweaks in that process as well as in the Area assignment of chairs based on the data from the audition process.

Along with these adjustments, participation by alternates at the Area level was reviewed and clarified.

Officer Training and Advocacy The 2014 summer Region officer training was so helpful, and TMEA received such positive comments as to the merits of having everyone gathered together, that this training was offered again this past summer. It continues to be a great source of information and communication, especially as realignment was the major subject of interest leading up to the 2016 implementation.

Southwestern Musician | October 2015 15

B AY L O R U N I V E R S I T Y Welcomes Dr. Gary Mortenson, Dean, School of Music “My goals for the School of Music at Baylor are to understand the considerable strengths already present in the School, to listen carefully to the wisdom that is already present among the faculty and student body, and to explore every opportunity that presents itself to keep Baylor on the path toward ever greater national and international recognition.” — DEAN MORTENSON Prior to his Baylor appointment, Dr. Mortenson was director of the School of Music, Theatre and Dance at Kansas State University, where he taught as a professor of trumpet for 25 years.

He recently received the Presidential Award for Outstanding Department Head at Kansas State.

Dr. Mortenson served the International Trumpet Guild as publications editor and as a member of the board of directors for a dozen years.

The ITG honored him with the organization’s Award of Merit in 2014.

ABOUT THE S C H O O L O F M U S I C AT B AY L O R U N I V E R S I T Y The Baylor University School of Music provides transformational experiences that prepare students for careers in music. Our students thrive in a Christian environment characterized by a nurturing resident faculty, an unwavering pursuit of musical excellence, a global perspective, a dedication to service and a devotion to faith.

They investigate the rich musical and cultural heritage of the past, develop superior musical skills and knowledge in the present, and explore and create new modes of musical expression for the future.

The School of Music of Baylor University is a member of the National Association of Schools of Music and the Texas Association of Music Schools. Degree programs leading to the bachelor of music education degree conform to certification requirements of the Texas Education Agency.

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

S A T U R D AY A

F R I D AY

December Dece cembe ber 4, 2015

January anuary 16, 2016 2

February 26, 2 2016 201

(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

January 30, 2016

January 15, 2016

S A T U R D AY

February 27, 2016

( 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 baylor.edu/music and click on “For Prospective Students” 254.710.7681 • Music_Admit@baylor.edu

B Y

A N D Y

BAND NOTES

S E A L Y

In Memoriam JESUS A RMANDO LOPEZ JR. January 2, 1967–September 8, 2015

Articulate the why

I

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

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

October 20—Deadline to receive All-State Jazz audition CDs in the TMEA office.

November 7–8—All-State Jazz judging.

November 16—TMEA scholarship online application deadline.

December 31—TMEA mail/fax convention preregistration deadline.

January 9—Area Band and Vocal auditions.

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

am an unrepentant list maker. My to-do list greets me first thing in the morning and many times it frames my entire day. It drives rehearsal schedules, staff meetings, and conference periods. Often items previously vanquished from my personal to-do list stubbornly reappear again and again. As music educators that list is always jam-packed with high-priority tasks that must be performed. We all have similar lists. They provide a focal point for what we teach, how we teach, and how we organize our band program. We all get pretty good (or perhaps comfortable) with what we’re going to teach and how we’re going to teach it. But if we allow our to-do list to lead us down the path of only asking what we’re going to teach or play and how we’re going to teach, we miss the opportunity to address the why. Focusing on the why forces us to address meaning and purpose within our program.

In preparation for our fall open house, the principal challenged our faculty to share with parents not so much what was being taught in our classes or what was expected of the students, but rather why we were choosing to teach that material and why we believed it mattered. He wanted us to share why teaching was important to us and what kind of student we hoped to produce.

Start with the why as you examine your sightreading curriculum, AllRegion preparation, or even the whole marching band experience. Remember, we’re trying to educate the whole child, not teach to the test of competition or some standardized evaluation. We shortsightedly criticize our colleagues in other areas for this very thing sometimes. By articulating the why we add value and substance to our band programs. We strive to help students develop a shared passion and respect for high-quality music performance. The very collaborative nature of music-making supports our students as they become

By articulating the why we add value and substance to our band programs.

Southwestern Musician | October 2015 17

better citizens of larger communities, and, equally importantly, it produces the fine arts advocates of the future.

TMEA Clinic/Convention Update Please do not forget to renew your

TMEA Membership. You must be a current TMEA member to enter your students in the TMEA All-State process.

Also, please consider serving TMEA as a volunteer at the 2016 TMEA Clinic/ Convention in February. You may vol-

unteer by submitting your information online at www.tmea.org/bandvolunteer.

It is my privilege to announce our conductors for the 2016 All-State Bands. Our students are in for a memorable clinic/ concert experience with these outstanding educators and musicians. When you attend the convention, know that AllState rehearsals are open and offer wonderful opportunities for learning from these experienced conductors.

Michael Haithcock All-State Symphonic Band Conductor Michael Haithcock assumed his duties as Director of Bands and Professor of Music at the University of Michigan in the fall of 2001 after 23 years on the faculty of Baylor University.

Following in the footsteps of William D. Revelli and H. Robert Reynolds, Haithcock conducts the internationally renowned University of Michigan Symphony Band, guides the acclaimed band and wind ensemble graduate conducting program, and provides

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18 Southwestern Musician | October 2015

administrative leadership for all aspects of the university’s diverse and historic band program. In February 2012, he was named an Arthur Thurnau Professor by the University of Michigan—the university’s highest award for excellence in undergraduate teaching.

Ensembles under Haithcock’s guidance have received a wide array of critical acclaim for their high artistic standards of performance and repertoire. These accolades have come through concerts at national and state conventions, performances in major concert venues, the UM Symphony Band’s May 2011 tour of China, and recordings on the Albany, Arsis, and Equilibrium labels.

Haithcock is a graduate of East Carolina University and Baylor University. In 2011, he was awarded the Distinguished Service to Music Medal by Kappa Kappa Psi National Honorary Band Fraternity.

He is an elected member of the music honor society Pi Kappa Lambda and the American Bandmasters Association. In addition, he has remained active in College Band Directors National Association following his term as president (2001–2003).

Kevin Geraldi All-State Concert Band Conductor Kevin Geraldi is A ssociate Professor of Conducting at the University of North Carolina at Greensboro. As Director of Orchestral Activities and Associate Director of Bands, he conducts the UNCG Symphony Orchestra, Symphonic Band, and Casella Sinfonietta, is associate conductor of the UNCG Wind Ensemble, and teaches graduate and undergraduate conducting.

Geraldi maintains an active schedule as a guest conductor, clinician, and adjudicator throughout the United States.

With the UNCG Wind Ensemble, he has performed at the 2009 and 2013 national CBDNA conventions and the 2011 American Bandmasters Association convention. A proponent of contemporary music and chamber music, he has commissioned and premiered numerous compositions and published articles in leading journals and other publications.

Geraldi holds doctor of musical arts and master of music degrees in conduct-

ing from the University of Michigan and a bachelor of music education degree from Illinois Wesleyan University. He is a recipient of the Thelma A. Robinson Award, presented biennially by the Conductors Guild and the National Federation of Music Clubs, and in 2012, he was elected to membership in American Bandmasters Association.

Don J. McKinney All-State 5A Symphonic Band Conductor Donald J. McKinney is Director of Bands and Associate Professor at the University of Colorado Boulder. He conducts the CU Wind Symphony, guides the graduate windconducting program, and oversees the university band program. Prior to his appointment at CU, McKinney was the Director of Wind Ensembles and Associate Professor at Louisiana State University. His additional faculty appointments include Interlochen Arts Academy and Duquesne University. Since 2011, he has been the Coordinator of Bands for Interlochen Arts Camp. In this capacity,

We accept TEA Delayed Payment for IMA Purchases.

James Nance, New Deal, TX Bands “RhythmBee has had a tremendous impact on the New Deal band program. Our rhythmic reading has become much more solid. Our beginners can count every rhythm in our band method before we ever put an instrument into their hands. Needless to say, RhythmBee continues to improve our band program.”

20 Southwestern Musician | October 2015

Teresa Segress, Chaffin JH Band, Fort Smith, AR “We love RhythmBee at Chaffin JH! Our students are engaged and enjoy the process of learning to count. In just 5 to 10 minutes per class, RB is a vital part of our teaching. Students love a challenge, and RB always pushes them to the next level. It is a perfect way to make rhythm FUN.”

Eric Gilley, Lowery Freshman Center Band, Allen ISD “RhythmBee is amazing!! The program engages students and guides them through rhythmic development. While the program is running, I can monitor and help students. This is the best rhythm program with an amazing group of master teachers to provide assistance. It is a must for every music classroom!”

he conducts the World Youth Wind Symphony and administers the summer band program.

He has made numerous appearances as a guest conductor and his recording credits include projects with the Dallas Wind Symphony, University of Michigan Symphony Band, University of Texas Wind Ensemble, University of North Texas Wind Symphony, Keystone Wind Ensemble, and Duquesne University Wind Symphony.

After participating in the second Frederick Fennell Memorial Conducting Masterclass, McKinney was named a finalist for the Thelma A. Robinson Award by the Conductors Guild. He has been nominated for a LSU Alumni Association Faculty Excellence Award and is an honorary member of Kappa Kappa Psi. Jim Widner All-State Jazz Ensemble I Conductor Jim Widner, former bassist with Stan Kenton, Woody Herman, and the Glenn Miller Orchestra directed

by Buddy DeFranco, is a Professor and Director of Jazz Studies at the University of Missouri/St. Louis, where in 2013 he was the recipient of the Faculty Excellence Award from the College of Fine Arts and Communication.

A graduate of the University of Missouri, Widner also holds an MA degree from the University of Memphis and has done postgraduate work at the University of North Texas, where he directed the Three O’Clock Lab Band. He has performed at the world famous Lionel Hampton and Montreaux (Switzerland) Jazz Festivals and has toured Japan, Europe, Australia, and China. His performance background includes concert dates with Clark Terry, Lou Marini, Mulgrew Miller, Bucky Pizzarelli, Wycliff Gordon, Randy Brecker, Bill Watrous, and the St. Louis Symphony Orchestra and an appearance before former President Bill Clinton. The title of “Statesman” was conferred upon him by The Statesmen of Jazz. Widner is a recipient of Downbeat magazine’s Achievement Award for his work in jazz education and has been featured in multiple articles in Downbeat and JazzEd magazines.

Widner is a Yamaha and D’Addario Performing Artist. He was a founding

member of the Jazz Education Network and served on its Board of Directors. The Jim Widner Big Band has recorded six critically acclaimed CDs on the Chase Music Group label.

Dan Gailey All-State Jazz Ensemble II Conductor Dan Gailey, saxophonist, composer, and arranger, is in his 26th year as the Director of Jazz Studies and Professor of Music at the University of Kansas, where he directs Jazz Ensemble I, teaches courses in jazz composition and arranging, produces the annual KU Jazz Festival, and is director of the KU Jazz Workshop. He is the recipient

of the 1996 IAJE Gil Evans Fellowship, an annual award which identifies an emerging jazz composer from an international field of candidates. Under his direction, the KU Jazz Studies Program has been the recipient of 22 DownBeat Student Music Awards, including Jazz Ensemble I’s 2015 award for Best College Jazz Ensemble.

Gailey holds a bachelor of music degree from Pacific Lutheran University and a master of music degree in theory/composition from the University of Northern Colorado. His compositions can be heard on numerous professional and college big band albums and are published exclusively through UNC Jazz Press. What Did You Dream?, his debut CD with the Dan Gailey Jazz Orchestra, was released in July 2010 and features all original compositions.

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Southwestern Musician | October 2015 21

University of North Texas

2016 AUDITIONS UNT Campus Auditions

Regional Auditions

(live jazz and percussion auditions offered on campus only)

(live jazz and percussion auditions offered on campus only)

Saturday, January 30, 2016 Friday, February 5, 2016

Chicago Friday, January 15, 2016

(Graduate percussion, piano, strings, and voice only)

Los Angeles Friday, January 15, 2016

Saturday, February 6, 2016 Saturday, February 27, 2016

New York City Friday, January 15, 2016

MUSIC.UNT.EDU

from Worst Division to ùUVW 'LYLVLRQ

by Stan Mauldin

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band that decades earlier had marched over 200 students at the UIL State Marching Band Contest had just finished the year with only 30 members and straight 4s at contest. This definitely doesn’t sound like the kind of program most directors would leave their current job to take on, but I can now report that I was fortunate to have been asked to do just that.

In 2013, my former superintendent, who was now at Pecos ISD, called and asked for my help with the Pecos HS band program. I arrived for a weeklong clinic and found wonderful kids, great parental support, administrative backing, and a community that didn’t just want a great band but that needed a great band program. In my opinion, Pecos exemplifies the perfect small school band situation.

In three years of working together, the Pecos HS band increased from 30 to 116 members, earned straight 1s in contest, and performed a clinic at the Midwest Clinic and TMEA Clinic/ Convention. The band participated at a state marching contest, was named a WGI Winds World Finalist, and traveled to 10 states.

The Pecos Band Reality In 16 years, band students had been led by 15 band directors.

In five of those years, the ISD was under six superintendents.

Seniors had been under the batons of 10 different directors— experiencing a constant change in expectations and methods.

Regardless of the effectiveness of any one leader, these are clearly the ingredients of an impossible learning situation.

Fortunately, our situation isn’t common (or so I hope!). However, every year, directors start new jobs taking over for others who have left, and while the situations vary, the challenges each of us face in that scenario are very similar.

Given the size of our state and the number of rural programs

that experience similar struggles, I hope my reflections on our experience and the approaches I found most helpful can assist others in their continued effort to develop and maintain a successful program.

It’s Not the Students’ Fault If a program has been in a state of flux for years, or even after one particularly negative year, we can’t assign blame to the students. As you take over a program, you must look to the students as the solution, not the problem. Regardless of the number of directors who have preceded you in recent history, it’s important to consider the effect this change has on students and realize their perspective that is shaped through the process. Start with a new slate and do everything you can to build student ownership.

Inspire Greatness In Pecos ISD, 80% of the students receive free or reduced lunch. Some live without air conditioning (and it’s 110 degrees in Pecos in the summer). On the surface, working in a severely economically disadvantaged area can seem like an impossible environment for success, but like in any other situation, it’s all about perspective. I found this program to be an opportunity to teach excellence. When I look to the future, I see our band members as attorneys, doctors, community leaders, and more.

Which comes first? Being a champion or thinking as a champion? If you are not yet a champion, fake it until you are! When you behave like a champion and you model that to your students, you give them the opportunity to believe they can be more than they ever expected. In many communities across our state, this hope for a better future isn’t something students are used to experiencing. It might take time for them to mirror that attitude, so Southwestern Musician | October 2015 23

you must be persistent and patient.

Their Presence Is Required How often have you heard, “Do I really need to be there?” Professional athletes skip practice for all kinds of reasons. A serious issue for employers is workers who just don’t show up. Many schools never have enough subs to cover classes for teachers who are out for the day. It’s an epidemic! I use every opportunity I have to talk about people who got a job because others simply didn’t show up. Being at rehearsal and arriving on time continues to be our top issue. It’s improving, but we still have work to do. This sounds

Give Them Choices Translate your expectations and demands into choices students must make. Instead of telling a student what they must do, offer a choice. “You don’t have to be quiet, but if you aren’t you can’t stay here.” “You don’t have to show up, but if you don’t, you can’t stay in the band.”

Eliminate confrontational language by making the students decide whether they want to stay in the program.

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extremely basic, but it’s an expectation that must be constantly reiterated.

Make a Commitment There are countless ways we can demonstrate our commitment to our students and community. We need to take the time to consider ways in which each of us can model that commitment beyond our band class. How we interact with other students, our colleagues, administrators, and community members is a great reflection on our commitment to excellence.

Consider how every decision you make will show your students your commitment. When they see you make a genuine commitment, your students will make a commitment to you and to the program.

Everyone Has Issues We all teach students with issues. Many students arrive carrying the weight of their family’s troubles. They know they are late. They know they haven’t turned in their fundraising money. The list goes on.

We spend a lot of rehearsal time talking about how good it feels to have a job, to pay your bills, to be in a good relationship, and about the responsibility you have to your family and to yourself. The bottom line is simple: we are teaching life skills. Some of our students need band more than the band needs them. And while we must consistently enforce the rules and expectations that are required to foster excellence in every student, we must also be sensitive to the issues that are truly beyond our students’ control.

Hurry Up! I spoke with a director once who said it would take him three years to turn his

November 14, 2015 (Fall Patriot Preview)

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January 30, 2016 (Winter Patriot Preview)

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24 Southwestern Musician | October 2015

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Feb. 10–13, 2016 tmea.org/convention

program around. That’s 1,095 days and three sets of seniors. Our students don’t have time to wait for their program to improve! While you might not achieve every objective at once, act now, don’t just plan for success later. Push yourself with higher expectations than you might initially have thought you could achieve.

Start from the Very Beginning When Vince Lombardi took over the Green Bay Packers he started from the very beginning saying, “Men, this is a football!” If you enter a program that has been in decline for years, you may find that you need to start over as well. After I arrived, we started from the very beginning. Clarinets, how much mouthpiece is in your mouth? Trumpets, where does the mouthpiece go on your lips? How do you hold the horn? Start over and make it perfect!

Go to Google We give band students the assignment to use Google to find and download a fingering chart and a tuning tendency chart for their instrument. We also encourage them to use online instructional videos, including Skype lessons. Don’t know the answer? You are not alone—use the Internet! This also presents an opportunity for us to teach students about being critical in their online exploration. With a seemingly endless supply of online resources, we need to help our students learn how to search for the best quality content.

1. The answer is air: It’s free! So take more air.

• Open your back teeth, and use more air.

• Less pressure brass, and use more air.

• Put more mouthpiece in your mouth, and use more air.

• Get your tongue down faster, and use more air.

The answer to every question—for a while—is air!

2. It’s out of balance: break the band into groups and balance to the lowest sections. No group plays louder than the group before it, no matter the register or octave: • Group 1: Tubas and low woodwinds • Group 2: Trombones, baritones, tenor sax, low winds • Group 3: Horns, alto sax • Group 4: Trumpets • Group 5: Clarinets • Group 6: Flutes 3. It’s out of tune!

Use a 12-wheel tuner and then use a personal tuner on the explosive instruments (flute, sax, horn, trumpet) all the time, no excuses!

While these three are certainly fundamental issues, I have found they are what most often holds us back from progressing to more complex concepts.

Find a Mentor Texas band directors are famous for helping each other. Someone has encountered the same issue you are encountering now. Just ask for help and another band director will be glad to help you. TMEA offers its members the opportunity to join the Mentoring Network. Veteran teachers are assigned to new teachers (or those new to Texas), and they collaborate to help ensure success during the important early years of one’s career. If you can offer expertise, or you need it, sign up at www.tmea.org/mentor.

Use the F Word—Fun Band is supposed to be fun! It’s music!

Find every opportunity to smile and to laugh—every day!

While every situation is different, I hope that what I’ve learned through my opportunity to work with the students in Pecos can help improve other programs across our state. All students deserve the opportunity to work together and achieve excellence, and through a consistent and high-quality music education, we can offer that very experience to every student from every background.

Stan Mauldin is Band Director at Pecos HS.

As We Go, They Go You cannot expect members to do anything before the leaders do. If student leaders don’t show up, arrive late, don’t memorize their music, don’t use the tuner, don’t wear black socks, then other band members won’t either. Your leaders must lead! Work with them early and often to instill a greater sense of responsibility and pride in their position.

Solving the Musical Issues Can Be Simple Get the right buttons down, play together with proper phrasing, get good balance, and it’s mostly finished. When students are playing the right notes and rhythms, but something is just not right, and you don’t know what it is, consider these options: Southwestern Musician | October 2015 25

Congratulations 2015 Mark of Excellence National

Wind Band

Class A

National Winners

Arbor Creek MS Honors Band........................................................................Rylon Guidry..................................................................................................Carrollton, TX Bonham MS Band..............................................................................................Mike Ellis..........................................................................................................Amarillo, TX Colleyville MS Honor Band.............................................................................Paul Schmidt..................................................................................................Colleyville, TX Killian MS Honors Band...................................................................................Rob Chilton.....................................................................................................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 Aledo MS Honor Winds...................................................................................Joey Qualls.............................................................................................................Aledo, TX Byrd Symphonic I Band....................................................................................Kevin Graham.............................................................................................Duncanville, TX Canyon Vista MS Honors Band.......................................................................Ryan Johnstone.....................................................................................................Austin, TX Cedar Park MS Symphonic Band....................................................................Manuel C.San Luis.......................................................................................Cedar Park, TX Cedar Valley MS Honors Band.........................................................................Jane Botkin............................................................................................................Austin, TX Cockrill MS Honors Band................................................................................Gary Williams...............................................................................................McKinney, TX Coppell MS North Honor Winds....................................................................Jeremy Lindquist................................................................................................Coppell, TX Creek Vally Honor Winds.................................................................................Kim Cooley....................................................................................................Carrollton, TX Doerre Symphonic Band...................................................................................Matt Fehl.................................................................................................................Klein, TX Dueitt MS Symphonic Band.............................................................................Christopher Gonzales.........................................................................................Spring, TX Fort Settlement MS Honors Band....................................................................Greg Countryman, Theresa Baragas...............................................................Sugar Land, TX Henry MS Honors Band...................................................................................Robert T. Herrings, III................................................................................Cedar Park, TX Indian Springs MS Wind Ensemble................................................................David Puckett.........................................................................................................Keller, TX Knox JH Wind Ensemble..................................................................................Jennifer Dillard....................................................................................The Woodlands, TX Robinson MS Wind Ensemble.........................................................................Kimberly Hernandez..............................................................................................Plano, TX Shadow Ridge MS Honor Winds.....................................................................Chris Meredith, Alicia DeSoto............................................................Flower Mound, TX Stafford MS Honor Band...................................................................................Christian Holzer...................................................................................................Frisco, TX Trinity Springs MS Honors Band....................................................................Dean Surface, Jennifer Stokes...............................................................................Keller, TX Wester MS Symphonic Band............................................................................Brad Smith.............................................................................................................Frisco, TX

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

Class AAAAA Aledo HS Wind Ensemble................................................................................Joey Paul.................................................................................................................Aledo, TX John Hersey HS Symphonic Band...................................................................Scott Casagrande..............................................................................Arlington Heights, IL Liberty HS Wind Ensemble..............................................................................Jamie Weaver..........................................................................................................Frisco, TX The Colony HS Wind Symphony.....................................................................Luis Saldana..................................................................................................The Colony, TX Waxahachie Wind Ensemble............................................................................Rich Armstrong.........................................................................................Waxahachie, TX Wylie East Wind Symphony.............................................................................Glenn Lambert, Aaron Daniel..........................................................................Wylie, TX

Class AAAAAA Brazoswood HS Symphonic Band...................................................................Brian Casey..............................................................................................................Clute, TX Friendswood HS Wind Ensemble....................................................................Gregory Dick............................................................................................Friendswood, TX Hebron HS Wind Symphony............................................................................Andy Sealy.....................................................................................................Carrollton, TX Plano East Senior HS Wind Ensemble...........................................................Evelio Villarreal.................................................................................................Plano, TX Southwest HS Wind Symphony........................................................................Stacey Dunn..............................................................................................Fort Worth, TX Spring Wind Ensemble......................................................................................Gabe Musella......................................................................................................Spring, TX Vandegrift HS Wind Ensemble........................................................................Mike Howard...................................................................................................Austin, TX

New Music Division John Hersey HS Symphonic Band...................................................................Scott Casagrande...............................................................................Arlington Heights, IL Nolan Ryan JH Symphonic Band I..................................................................Josh Mooney....................................................................................................Pearland, TX Summit HS Wind Symphony...........................................................................Brad Bonebrake...............................................................................................Arlington, TX

Class A

Commended Winners

Carpenter Wind Ensemble...............................................................................Katie Zeier...............................................................................................................Plano, TX Downing MS Symphonic Band........................................................................Mary Clardy..........................................................................................Flower Mound, TX Griffin MS Wind Ensemble..............................................................................Leigh Ann McClain....................................................................................The Colony, TX Hunt MS Symphonic Band...............................................................................Kristen Dillard...................................................................................................Frisco, TX Lamar MS & Fine Arts Academy Symphonic Winds...................................James Hairston....................................................................................................Austin, TX Reed MS Symphonic I Band.............................................................................Michelle Hanegan...................................................................................Duncanville, TX The Watauga MS Symphonic Band................................................................Jason Finnels.....................................................................................................Watagua, TX

Class AA Apollo JH Symphonic Band I...........................................................................Andrew Weak..............................................................................................Richardson, TX Bailey MS Wind Ensemble................................................................................Sara McGarry......................................................................................................Austin, TX Campbell MS Symphonic Band........................................................................Scott McAdow................................................................................................Houston, TX Cooper JH Honors Band...................................................................................Adam Powell.....................................................................................................Wylie, TX Creekwood MS Honors Band...........................................................................Missy DeSpain Allen....................................................................................Kingwood, TX T.A. Howard Honor Band.................................................................................Nathaniel Neugent........................................................................................Arlington, TX Kennemer MS Symphonic I Band...................................................................Luzviminda S. Pascasio..........................................................................................Dallas, TX Kleb Int Symphonic Band.................................................................................Jennifer Wren, Christine King............................................................................Spring, TX Krimmel Int Symphonic Band..........................................................................Sharon Kalisek...................................................................................................Spring, TX Lamar JH Honor Band......................................................................................John Barton.................................................................................................Rosenberg, TX McKamy Honor Winds.....................................................................................Russell Cote...........................................................................................Flower Mound, TX Nolan Ryan JH Symphonic Band I..................................................................Josh Mooney.....................................................................................................Pearland, TX Oliveira Symphonic Band.................................................................................Gaspar Garcia............................................................................................Brownswille, TX Riverwatch MS Symphonic Band.....................................................................Matt Koperniak................................................................................................Suwanee, GA Space Center Int Symphonic Band..................................................................Donald McCandless.........................................................................................Houston, TX Spillane MS Symphonic Band..........................................................................Tom Harrington.................................................................................................Cypress, TX Westbrook Int Wind Ensemble........................................................................Keith Raney.............................................................................................Friendswood, TX Wiley MS Wind Ensemble................................................................................Garland Chiasson............................................................................................Leander, TX Special thanks to Wind Band adjudicators Don Wilcox, Tom Leslie, and Steve Peterson. The 2015 Mark of Excellence had 229 entries and has now received entries from 36 states. More information at: www.foundationformusiceducation.org/mark-of-excellence Rick Yancey, Managing Director - ryancey@choicemusicevents.org

Wind Band, Orchestra, and Jazz Honors Winners Commended Winners Continued Class AAAA Argyle HS Wind Ensemble.............................................................................Kathy Johnson........................................................................................................Argyle, TX

Class AAAAA Denton HS Wind Ensemble...........................................................................Brian Wilson..........................................................................................................Denton, TX Milton HS Wind Ensemble............................................................................Chris Shumick.........................................................................................................Milton, GA Poteet HS Honors Band..................................................................................Cody Newman....................................................................................................Mesquite, TX Timberview HS Wind Symphony..................................................................Paul Heuer..........................................................................................................Arlington, TX Vista Ridge HS Band.......................................................................................Bryan Christian..............................................................................................Cedar Park, TX

Class AAAAAA Clear Lake HS Wind Ensemble.....................................................................John Pearce..........................................................................................................Houston, TX Dulles HS Honor Band...................................................................................Joe Pruitt..........................................................................................................Sugar Land, TX Flower Mound HS Wind Symphony.............................................................Brent Biskup, Jana Harvey.............................................................Flower Mound, TX Pearland HS Wind Ensemble........................................................................Joe Munoz............................................................................................................Pearland, TX Oak Ridge HS Wind Ensemble.....................................................................Dana Pradervand.................................................................................................Conroe, TX Richardson HS Wind Symphony..................................................................Jesus Marquez..............................................................................................Richardson, TX Richland HS Honors Band.............................................................................Jason Bird........................................................................................North Richland Hills, TX

New Music Division Kelly Lane MS Wind Ensemble.....................................................................Cynthia Mixon..............................................................................................Pflugerville, TX Seven Lakes HS Wind Symphony..................................................................Damon Archer.............................................................................................................Katy, TX

Orchestra

National Winners High School Full Orchestra

Plano West SH Symphony Orchestra............................................................Jo Wallace-Abbie.....................................................................................................Plano, TX Seven Lakes HS Symphony Orchestra..........................................................Desiree Overee, Damon Archer...............................................................................Katy, TX

High School String Orchestra

Jasper HS Legacy Orchestra............................................................................Ryan Ross..........................................................................................................Plano, TX Plano West Chamber Orchestra....................................................................Jo Wallace-Abbie............................................................................................Plano, TX Seven Lakes HS Sinfonia Orchestra..............................................................Desiree Overee...........................................................................................................Katy, TX Walton HS Chamber Orchestra.....................................................................Perry Holbrook...................................................................................................Marietta, GA

Middle School Full Orchestra

Ereckson Symphony Orchestra......................................................................Joanna DeVoto, DJ Vaccarezza, Hannah Hong...................................................Allen, TX

Middle School String Orchestra Beckendorff JH Honor Orchestra..................................................................Karel Butz..................................................................................................................Katy, TX Doerre Chamber Orchestra.............................................................................Dawn Multop....................................................................................................Klein, TX Kealing MS Symphony Orchestra...................................................................David Jarrott..................................................................................................Austin, TX Vandeventer MS Chamber Orchestra...........................................................Daniel Rodriguez....................................................................................................Frisco, TX Wester MS Symphonic Orchestra..................................................................Jennifer Vanhook....................................................................................................Frisco, TX

Youth Orchestra

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

Commended Winners High School Full Orchestra Allen HS Symphony Orchestra......................................................................David DeVoto, Matt Cross, Blaine Hinton.............................................................Allen, TX College Park Full Orchestra...........................................................................Peter Kempter.................................................................................The Woodlands, TX

High School String Orchestra Stephen F Austin HS Camerata Orchestra...................................................Carolyn Vandiver, Sean Kime.................................................................Sugar Land, TX Dulle HS Symphony Orchestra......................................................................Michael Alan Isadore....................................................................................Sugar Land, TX Marcus HS Chamber Orchestra.....................................................................Andrew Goins.........................................................................................Flower Mound, TX Midway Camerata...........................................................................................Beau Benson.............................................................................................................Waco, TX James E. Taylor HS Chamber Orchestra.......................................................Clinton Capshaw.......................................................................................................Katy, TX

Middle School Full Orchestra

Curtis MS Symphony Orchestra....................................................................Amanda Su, Linda Orrantia...................................................................................Allen, TX

Middle School String Orchestra

Jazz

Dulles MS Symphony Orchestra....................................................................Sally Kirk, Theo Talley...................................................................................Sugar Land, TX Ereckson Chamber Orchestra........................................................................Joanna DeVoto.........................................................................................................Allen, TX Robinson MS Chamber Orchestra................................................................Mary Havenstrite.............................................................................................Plano, TX Rocky Run MS Chamber Orchestra.............................................................Stephen Matthie................................................................................................Chantilly, VA Sartartia Symphony.........................................................................................Ann Victor, Sophia Hsieh..............................................................................Sugar Land, TX

National Winners High School Jazz Ensemble

The Birdville HS Jazz Ensemble.....................................................................Mike Cheripka................................................................................North Richland Hills, TX Wheeling HS Jazz Band I................................................................................Brian Logan...........................................................................................................Wheeling, IL

Middle School Jazz Ensemble Lamar MS and Fine Arts Academy Jazz Factory.........................................James Hairston.........................................................................................................Austin, TX

Commended Winners High School Jazz Ensemble Spring HS Jazz Ensemble.................................................................................JD Guzman..............................................................................................................Spring, TX

Middle School Jazz Ensemble

Glades MS Concert Jazz Band........................................................................Erich S. Rivero..........................................................................................................Miami, FL Thanks to adjudicators Gary Lewis (Orchestra) and Jeff Jarvis (Jazz). This yearâ&#x20AC;&#x2122;s project had 229 entrants. The Mark of Excellence program has now received entries from 36 states. More information at: www.foundationformusiceducation.org/mark-of-excellence Rick Yancey, Managing Director - ryancey@choicemusicevents.org

Percussion

Congratulations 2015 Mark of Excellence National Percussion & Choral Honors Winners National Winners

High School Percussion Ensemble

Manvel HS Percussion Ensemble.............................................................................Louis M. Boldrighini.....................................................................................................Manvel, TX Spring HS Percussion Ensemble..............................................................................JD Guzman.......................................................................................................................Spring, TX

Middle School Percussion Ensemble

Clint Small MS Percussion Ensemble.....................................................................Paul Scheffel.....................................................................................................................Austin, TX

Commended Winners High School Percussion Ensemble

Denton Varsity Percussion Ensemble.....................................................................Robert Brannock............................................................................................................Denton, TX

National Winners High School Mixed Choir

Choral

Vandegrift HS Chorale..............Michael Feris...............................Austin, TX

Commended Winners High School Mixed Choir Spring HS Chorale.....................David Landgrebe........................Spring, TX

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

Middle School Treble Choir Arbor Creek MS Bel Canto Choir.........................Toni Ugolini.........................Carrollton, TX Robinson MS Varsity Treble Choir...................Kimberley Ahrens........................Plano, TX

High School Open Class Clements HS Varsity Treble Choir......................John Richardson..............Sugar Land, TX

Middle School Treble Choir Bailey MS Concert Women.........Christine Johnson..................Spring, TX Campbell Advanced Girlâ&#x20AC;&#x2122;s Choir.....................................Karla Sosa..........................Houston, TX

Middle School Open Class The Heritage A Cappella Choir.......................Julie Ann Allen.....................Colleyville, TX

Thanks to adjudicators She-e Wu (Percussion) & Allen Hightower (Choral)! This yearâ&#x20AC;&#x2122;s project had 229 entrants. The Mark of Excellence program has now received entries from 36 states. More information at: www.foundationformusiceducation.org/mark-of-excellence Rick Yancey, Managing Director - ryancey@choicemusicevents.org

Compilation recordings of the Mark of Excellence National Winners accessible from anywhere in the world in just a few minutes.

Performances by the National Winners represent the top 25% of the entries, and demonstrate stunning musical achievement and exemplary teaching! In 2015 the project had 229 entries, and has now received entries from 36 states.

View and access the Mark website and catalog at www.markcustom.com For more information on the Mark of Excellence visit www.foundationformusiceducation.org/mark-of-excellence

B Y

P E N N Y

ORCHESTRA NOTES

M E I T Z

Preparing to judge

T

he judging season is upon us. It is one of those necessary tasks that many teachers dislike, but judging is a vital part of the audition system. TMEA’s policy of requiring teachers who enter students in the process also to be available to judge is a good one, and I wish the policy extended to entries in Area Orchestra. The validity and integrity of the entire process, from District to Region, Area, and finally All-State, depends upon the reliability, professionalism, and preparation of the judges.

Learning to listen to and evaluate entry after entry is an art. Mastering this art makes the chore easier. Beginning a long day of judging with a positive attitude can go a long way toward endurance and consistent judging. Here are some other ideas you may find helpful: October—Renew your TMEA membership online and preregister for the convention.

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

October 24–25—First and second round judging of HS String Honor Orchestra CDs. October 31—Protected date to record for All-State String auditions.

November 7–8—First and second round All-State CD judging.

November 16—TMEA scholarship online application deadline.

December 31—TMEA mail/fax convention preregistration deadline.

January 9—Area Band and Vocal auditions.

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

1. Acquaint yourself with the audition music before the day of the contest.

Unfortunately, it’s not unusual for teachers to arrive at a contest with little, or sometimes no, familiarity of the music. After ten or so auditions, the judges figure out the intricacies of the music. But those first auditionees have likely been sacrificed to the adjudicator learning what’s important. If you are capable of playing the music, do so as part of your personal preparation. Work on the music with students who plan to audition. Search for and watch YouTube videos of the material. Know the performance standard as well as the music.

2. If the audition cuts are not predetermined, be prepared to suggest appropriate cuts.

Before exercising the very important role as adjudicator, do what you can to be prepared and offer each student your best.

Southwestern Musician | October 2015 29

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3. If you are the person putting together judging panels, consider the strengths of potential judges, and try to place people on panels that use these strengths. Assign eager, less experienced teachers to a panel with four seasoned veterans who can help them through the process. Fill monitor positions with non-string-playing colleagues.

4. Know how many students you need to select to advance through the round you are judging, and about how many must be eliminated through the process.

9. Refrain from any conversation about what you are hearing until after students have left the room and all judges have completed scoring the performance.

10. Pace yourself physically and mentally.

Have water, stand up and stretch, and call for a break when you feel your focus is fading.

Thank you for the hard work you will do when adjudicating students in our audition process. Yours is a very important job and your efforts are greatly appreciated!

Clinic/Convention Update I’m pleased to share with you information on our outstanding All-State Conductors who will be leading our state’s best orchestra students in February.

Along with attending the concerts, know that All-State rehearsals are open and are often valuable learning experiences for teachers.

If you haven’t yet, be sure to preregister for the convention. No other music educators convention offers you as many opportunities for professional development, through hundreds of workshops

5. Categorize each audition. I love how one colleague describes his approach: From the first notes played, he places each student into a general category that reflects their initial efforts. You might consider starting out with categories of outstanding, acceptable, or underprepared. As you listen further into each audition, it’s easier to finetune your assessment, moving each audition up or down as you hear more of the entry.

6. Be aware that the strongest players and the very underprepared are the easiest to rank. The middle takes the most care and consideration and is the most difficult to adjudicate.

7. Be consistent applying your standards. This is perhaps one of the most difficult and most important to achieve. Begin with a scoring range that gives lots of room, more than you think you’ll need. I believe it’s better to use too wide a scale than one that doesn’t have enough room to accommodate the differences between players. Take notes on each one you hear that will help you recall your impressions. Those notes will come in handy to help you break unavoidable ties.

8. Use your Number 2 form after every student you hear. Every time. As the audition proceeds, count the entries you have made on the Number 2 form and verify that is the number of students you have heard. If the numbers don’t match, find the discrepancy right away. Waiting until the end of the audition only complicates things, especially if you inadvertently make another error.

Southwestern Musician | October 2015 31

and performances. For more details and to register, go to www.tmea.org/convention.

Conductor Prize by the Master Academy International Competition in Switzerland.

Sandra Dackow All-State String Orchestra Conductor Sandra Dackow holds three degrees from the Eastman School of Music and currently serves as music director of the Hershey Symphony Orchestra in Pennsylvania, Hershey Symphony Festival Strings, and William Paterson University Symphony Orchestra in New Jersey. An Aspen conducting fellow, she was awarded the Silver medal in the 2001 Vakhtang Jordania/New Millennium Conducting Competition in Ukraine.

Dackow has published over 100 works for student orchestras and is an author of Alfred’s Orchestra Expressions, Tempo Press’s Expressive Techniques for Orchestra, and a coauthor of the NAfME Complete String Guide. She has appeared as a guest conductor, clinician, and adjudicator throughout the United States and abroad.

She has guest conducted or presented in Australia, England, Ireland, South Africa, Brazil, Malaysia, China, Hong Kong, the Czech Republic, Bulgaria, Russia, and Ukraine. Dackow is a former president of the Conductors Guild, an international organization serving conductors in 31 countries. In 2009 she was elected a Lowell Mason Fellow by MENC (now NAfME) and was awarded the Bruno Walter Best

Sey Ahn All-State Philharmonic Orchestra Conductor A recent fellow of the prestigious American Academy of Conducting at Aspen, Sey Ahn is an emerging young conductor already on the way to a brilliant career. The recipient of a bachelor of music degree in piano performance from Northwestern University’s Bienen School of Music, she also earned two master of music degrees from USC’s Thornton School of Music, one in piano and one in orchestral conducting. A graduate of Larry Livingston’s orchestral conducting program at the Thornton School of Music, Ahn has worked individually or in master class sessions with such renowned conductors as Gustav Meier, Victor Yampolsky, Larry Rachleff, Robert Spano, Nicolas McGegan (opera), Federico Cortese, Carl St. Clair, Jorge Mester, Helmuth Rilling, and Kurt Masur. Widely in demand as a guest conductor of professional and youth orchestras around the country, she led the Colorado All-State Orchestra in 2014 and Kentucky’s in 2015. Ahn currently serves as the Assistant Conductor of the IdyllwildARTS Summer Music Festival, a thriving international music program for gifted high school music students set in Southern California. In addition, she is

32 Southwestern Musician | October 2015

Assistant Conductor of the Music for All Honor Orchestra of America held annually in Indianapolis. Recent highlights include performances in Benedict Music Tent at Aspen (Colorado), Royce Hall (Los Angeles), Alice Tully Hall (New York), and Hilbert Theater (Indianapolis).

Larry Livingston All-State Symphony Orchestra Conductor Larry Livingston is a distinguished conductor, educator, and administrator and a highly respected motivational speaker. A graduate of the University of Michigan, he studied conducting with Laurence Livingston, Elizabeth Green, William Revelli, Rafael Druian, and Herbert Zipper. He served as Vice-President and Music Director of the New England Conservatory of Music in Boston, where he was also conductor of the Symphony Orchestra and, subsequently, Dean of the Shepherd School of Music at Rice University. From 1986 until 2002, Livingston served as Dean of the USC Flora L. Thornton School of Music, where he is now Chair of the Conducting Department.

Livingston is the founding Music Director of the Illinois Chamber Orchestra and has appeared with the Houston Symphony and in the Los Angeles Philharmonic Green Umbrella Series. He has conducted at the Festival de Musique in Evian, France, and has led the Stockholm Wind Orchestra, as well as the Leopoldinum Chamber, Chopin Academy, and Wroclaw Philharmonic Orchestras in Poland. He served as Music Director of the Pan Pacific Festival Orchestras in Sydney, participated in the International Jazz Festival in Rome, and conducted electro-acoustic ensemble concerts in Tokyo under the auspices of Yamaha International. Livingston has led the American Youth Symphony Orchestra, the Young Musicians Foundation Orchestra, the USC Thornton Chamber, and Symphony Orchestras in Los Angeles and the USC Thornton Contemporary Music Ensemble in Berlin, and he served on the jury for the renowned Besancon International Conducting Competition in Besancon, France.

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Overcoming the Sightreading Stigma

D

o we have to sightread today? This question is surely heard in every choir room regularly throughout the year. It is usually accompanied by groans and moans from those choir students who are convinced that sightreading must be some form of torture designed to take them away from (in their wise opinions) the true purpose of choir: preparing and performing music! Somehow the practice of sightreading and the preparation of repertoire have become mutually exclusive in many choir rooms throughout the state when, in fact, these two components are most effective when synthesized into a seamless process that is present in every rehearsal.

Change the Perception The perception of sightreading as a chore to be completed rather than music to be made can be attributed, in part, to the terminology that is used in the choral classroom. When students hear the words sightreading drill or exercise, they have an almost conditioned response to dread the activity. In a studentâ&#x20AC;&#x2122;s mind, an exercise is not a piece of music, but rather an unwelcome task that must be completed. As choral music educators, we must change the perception of our sightreading work so that our students see and hear music-making opportunities even in the drills and exercises that are such a key component of our rehearsal.

Take opportunities to morph the vocabulary from drill to phrase, from exercise to excerpt. Utilize musical terminology rather than contest language. Sightreading is not taught to achieve trophies. It is taught so that young singer musicians are able to read 34 Southwestern Musician | October 2015

by Amy Moore

and perform independent parts without assistance and combine the parts into the whole that is the ensemble.

Change the Process Changing the terminology is just the beginning. True marriage between repertoire and reading occurs when the teaching process is streamlined and student expectations are consistent.

Like other instructional methods, there are multiple ways directors teach sightreading, but I have found that breaking this practice down into three basic components simplifies the process for my students and me. These components are: chanting, signing, and accountability.

Chanting Chanting a phrase prior to singing is a common practice among many choir directors. Whether on solfège syllables or on words, chanting offers opportunities to directors to determine accuracy of rhythm, text, dynamics, and phrasing. However, for students and directors alike, it can be far too easy to fall into a trap. Because chanting is not singing, performance expectations are often lowered.

Directors must approach the choral chant as a component of the music that includes everything but pitch. The tone must be smooth and connected to the breath. A choppy, disconnected phrase when chanting will produce similar results when singing and will inhibit the shape of the musical phrase.

Similarly, allowing students to chant with flat vowels will result

in not-so-beautiful vowels once pitch is added. The question “Would we sing it that way?” should constantly be asked and answered by director and students. If the answer is no, then the chant needs to be adjusted for greater accuracy.

One of the most basic evaluations of choral chant is observing posture and music positioning. If the choir perceives the chant as lacking importance, their posture will reflect that. Shoulders will be rolled forward, music will be held at waist level, and eyes will be downcast, reflecting a lack of involvement. If there is no physical and mental connection between the music, the choir, and the director, the chant will not be effective. Own the mantra “As we chant, so will we sing.”

If used with dedication and consistency throughout rehearsals, this approach will better prepare the choir for successful performance.

Signing The use of hand signs when singing on solfège syllables is extremely valuable and is utilized, in varying degrees, by many choirs. However, the effectiveness of hand signing is dependent on how it is implemented by the choir. Signing can be most easily compared to pressing keys on a piano or valves on a brass instrument.

Each pitch is assigned a different position on an instrument, just as each hand sign has a unique position on the body’s pitch ladder. The top of the ladder is at the forehead and (depending upon the musical key) can be considered high do. The bottom of the ladder is at the waist and is low do. The student’s task is to represent all pitches of the major scale by utilizing the entire length of their body’s pitch ladder. In doing so, choral students maintain a physical connection to the tone that will ensure more accurate reading and retention of individual parts.

Singing is a physical activity; incorporating kinesthetic movement into all aspects of rehearsal is a proven method in choral teaching. Utilizing hand signs

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without a pitch ladder does nothing to kinesthetically assist the choral singer in determining melodic direction. If the sol and mi hand signs are in the exact same place as ti or do, the singer will not have a physical link with the pitch. Imagine a flute player being expected to play a major scale without moving any fingers. It could not be done! The covering and uncovering of the keys is elemental in a flutist performing a beautiful major scale, just as the physical link between hand sign and position results in pitch differentiation by a singer.

Accountability The scariest rehearsal moment for any choir is probably that first attempt at singing a new phrase or piece. Every choir member has been there—opening pitches given, eyes on the page, and go!

What happens next could be exultation in the music being made or utter disaster as the choir slowly but surely fades to nothing. The difference between exultation and disaster can come down to one simple concept: accountability.

Choral educators understand that choir is a team activity. The success of

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Linking an ensembleâ&#x20AC;&#x2122;s love of making music with their journey to becoming independent readers will develop truly independent singer musicians. the whole is dictated by the performance of the individuals. This is perhaps most evident when sightreading. Students often seem hesitant to try new things because of a fear of failure. This poses a challenge to choral educators since reading something at first sight requires risk taking, with the knowledge that success is not always guaranteed. Building accountability within the choir and with the director will give the ensemble the courage to become confident sightreaders.

Choral directors should view themselves as tour guides. When preparing

a new selection of music, point out the scenery along the way. Look for transitions, challenging intervals, awkward page turns, and anything else that could create anxiety. One of the key components that directors must incorporate is the identification of unison notes and passages.

Unisons are like home base for choirs!

Never forget to point out unisons so that different vocal parts can always find each other. The more astute the observations by the director, the more trust is built with the ensemble.

Finally, encourage ensemble members

to be accountable to each other. The more confidence they have as individuals, the more accurate they will be as a group.

With confidence comes accuracy! This concept takes time to adopt and implement, but it will be a game changer for the ensemble in all aspects of rehearsal and performance.

The ability to read music at first sight is crucial to all musicians, regardless of age or instrument. Linking an ensembleâ&#x20AC;&#x2122;s love of making music with their journey to becoming independent readers will develop truly independent singer musicians. Who knowsâ&#x20AC;&#x201D;perhaps the question directors will be asked is: Do we get to sightread today?

Amy Moore is Choir Director at Salyards Middle School in Cypress-Fairbanks ISD.

Strike a note with your students & experience the

Sound of Tarleton Dec. 28-29, 2015

Area Choir Workshop Contact: Dr. Troy Robertson (254) 968-9240 | robertson@tarleton.edu

Jan. 30, 2016

Tarleton Brass Day Contact: Dr. Brian Walker (254) 968-0744 | walker@tarleton.edu

March 19, 2016

Tarleton Jazz Festival Contact: Greg Ball (254) 968-9828 | ball@tarleton.edu

March 22-23, 2016

Invitational Band Festival Contact: Dr. Anthony Pursell (254) 968-9242 | pursell@tarleton.edu

Discover more www tarlletton ed www.tarleton.edu/music du//musiic 36 Southwestern Musician | October 2015

Bringing B ring rin ringing ging gin g ng g a ffr fre fresh esh es sh approach appr approac approa a app proach to your festival experience and providing the best for the students and teachers of Texas.

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Performances at Mansfield ISD Center for the Performing Arts

Performances at Edgewood Theatre of Performing Arts

musicfesttexas.com

B Y

R O B E R T

H O R T O N

VOCAL NOTES

In Memoriam ERETA H AMILTON August 21, 1931–September 5, 2015

Put me in, coach!

O

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

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

November 16—TMEA scholarship online application deadline.

December 31—TMEA mail/fax convention preregistration deadline.

January 9—Area Band and Vocal auditions.

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

ne of the loves of my life is baseball. I loved baseball so much that, living near Atlanta, and playing on a Little League team called the Braves, I would put on my full uniform to sit and watch the Atlanta Braves on WTBS. I was so blessed that part of my time growing up, I lived on a street with Mark, Jason, Greg, Brian, Randy, and Jamey, who along with my brother and several other guys loved to pay baseball as much as I did. We played baseball every day of the summer, and in summer league. On game days, it was especially exciting to get to the ballpark, and get ready for the game. I played first base, third base, and catcher, but I really loved it when they let me pitch. I wanted to learn as many positions as I could so that I would be more valuable to the team and have the opportunity to play and contribute. I often remember that my teammates and I really wanted to be in the game when it was crunch time. We would all gather at the dugout rail and watch intently, yelling encouragement to our teammates.

But our poor coach! We pestered him incessantly. In our intense desire to help our team to victory, we always said the same thing, “Put me in, coach!”

I was really delighted when John Fogerty wrote those words in the song “Centerfield” when I was in 10th grade.

Music has great parallels to baseball. We really need a great team to make things work, don’t we? The team that is made up of teacher, students, and parents is the most critical one. The team that makes up a Region full of choir directors ensures great experiences for kids, parents, and colleagues. Famous industrialist Andrew Carnegie said, “Teamwork is the ability to work together toward a common vision—the ability to direct individual accomplishments toward organizational objectives. It is the fuel that allows common people to

The most successful people I know in our profession are great musicians, great teachers, and great servants.

Southwestern Musician | October 2015 39

attain uncommon results.”

TMEA at the Region and state levels works really well because of a committed group of volunteers. We are so blessed to have the opportunity to work for and with each other. What position will you play on the team? Have you considered the benefits of service? The most successful people I know in our profession are great musicians, great teachers, and great servants.

Recently, I was privileged to have dinner with a young couple from Houston

who are each successful choral directors.

They were talking about how much their service on the facilities team at the TMEA convention helped them grow as teachers. They also shared how much they had been inspired by watching directors of performing groups as they led their choirs through the final rehearsals. They told me how they had come to believe that every person’s work at the convention contributed to the success of TMEA. I could only smile and agree!

I know that for me, the lessons I have

learned through opportunities to serve TMEA have helped me to grow as a teacher and a musician.

So, I strongly urge you to consider volunteering to help your Region, and to help out in some way at the TMEA convention. You can volunteer to help at www.tmea.org/vocalvolunteer. I hope you will say put me in coach!

Clinic/Convention Update I am so excited to introduce our 2016 All-State Conductors. The experiences they will share with our students will be life-changing. As you read about them, remember that during our convention, you can attend their rehearsals and learn from them in action. If you haven’t already registered for the convention, do it today! Also, be sure to reserve your hotel through the discounted convention hotel reservation system. That system is available October 1 at 6 A.M. CT. Gabriel Crouch All-State Men’s Choir Conductor Gabriel Crouch is Director of Choral Activities and Senior Lecturer in Music at Princeton University.

He began his musical career as an eightyear-old in the choir of Westminster Abbey, where he performed a solo at the wedding of HRH Prince Andrew and Miss Sarah Ferguson. After completing a choral scholarship at Trinity College, Cambridge, he was offered a place in the renowned a cappella group The King’s Singers in 1996.

Since moving to the USA in 2005, first to run the choral program at DePauw University in Indiana, and now at Princeton University, he has built an international profile as a conductor and director, with recent engagements in Indonesia, Hawaii, and Australia as well as Europe and the continental United States.

In 2008 he was appointed musical director of the British early-music ensemble Gallicantus, with whom he has released four recordings under the Signum label to rapturous reviews. When the academic calendar allows, Crouch maintains parallel careers in singing and record production, crossing the Atlantic frequently to appear with such ensembles as Tenebrae and the Gabrieli Choir, and in the U.S.,

40 Southwestern Musician | October 2015

performing recitals of lutesong with such acclaimed lutenists as Daniel Swenberg and Nigel North. As a producer, his latest credits have included Winchester Cathedral Choir, the Gabrieli Consort, and Tenebrae.

Amanda Quist All-State Women’s Choir Conductor Amanda Quist is Associate Professor of Conducting at Westminster Choir College, where she conducts Chapel Choir, Westminster Kantorei, and teaches conducting. She is the recipient of Westminster Choir College’s 2014 Distinguished Teaching Award.

During her work with the Westminster Symphonic Choir, she collaborated with the New York Philharmonic, Philadelphia Orchestra, Dresden Staatskapelle, and composers Ola Gjeilo and Tarik O’Regan.

Quist recently served as Chorus Master for the premiere of Toshio Hosokawa’s opera Matsukaze for Spoleto and Lincoln Center Festivals. The New York Times and Charleston City Paper described the performance as “beautifully prepared, gripping,” a “gossamer web of voices,” and “bridging the vocal and instrumental textures with perfect intonation.”

Quist is Director of the Westminster Vocal Institute and was previously Director of Choral Activities at San José State University. Her other honors include the prestigious James Mulholland National Choral Award and the Audrey Davidson Early Music Award. She presented an interest session for the 2015 National ACDA Conference in Salt Lake City entitled “Building Sound and Spirit.”

Quist is an active guest conductor and clinician, and she serves as the National ACDA R&S Chair for Student Activities.

honored with performances at a number of distinguished music conferences, including several ACDA conventions and the 2008 and 2011 NCCO National Conferences.

An active clinician, Rodde has led numerous state and regional festival ensembles. On the ISU campus, he annually conducts the ISU Honor Choir, a highly select ensemble of high school students, chosen through live auditions across the state of Iowa. As a teacher of conducting, one of his students won the 2005 ACDA National Undergraduate Conducting Competition.

Beyond his university duties, Rodde is the artistic director of two community ensembles, the Ames Chamber Artists and the Des Moines Choral Society. For more than a decade he served ACDA as the North Central Repertoire and Standards Chair for Men’s Choirs, and he continues to edit and arrange choral music, with a number of published works.

Since his appointment at ISU in 2000, the choral program has grown steadily to now include over 400 undergraduate choristers.

Kenneth Davis Small School Mixed Choir Conductor After receiving a DMA in conducting from the Eastman School of Music,

Kenneth Davis taught at the university level for almost 30 years. His appointments have included Texas Christian University, St. John’s College, Texas Tech University, and Western Kentucky University. In addition to his doctoral degree, he holds an undergraduate degree in music education and three master’s degrees in theology, conducting, and liberal arts. He was invited by audition to sing with the Robert Shaw Festival Singers in France and New York. Growing up in Atlanta, he sang with the Atlanta Symphony Chorus with Shaw for many years. His teachers include Don Neuen, Roger Wagner, and Alfred Mann.

While at Texas Tech, Davis was invited to perform at three TMEA conventions, and in 2010 he served as the conductor for the Texas All-State Mixed Choir. His choirs have been invited to regional and national ACDA conventions as featured performing ensembles, and he has conducted over 40 regional choirs in Texas.

While at St. John’s, he taught courses in Classical Greek, science, philosophy, and literature. Today, he is a frequent guest conductor for high schools and colleges across the country, teaching workshops for secondary choral music educators, and conducting a semiprofessional choral ensemble based in Dallas.

James Rodde All-State Mixed Choir Conductor James Rodde, the Moen Professor of Music and Director of Choral Activities at Iowa State University, conducts the Iowa State Singers and the 150-voice Iowa Statesmen and teaches choral conducting and literature. Choirs under his direction have toured internationally and have been Southwestern Musician | October 2015 41

Changing How I Teach Using the New TEKS

by Patrick R. Lollis

T

he new Texas Essential Knowledge and Skills (TEKS) for elementary music are more specific and better aligned vertically than their predecessors. Many standards are more rigorous, while others have been adjusted to be more developmentally appropriate. It’s always important to remember that TEKS help structure instruction around what the student should know and be able to do at the end of each grade/level, not how that instruction should be delivered. The TEKS provide for a cohesive curriculum from one grade/level to the next.

What I provide below is an overview of the changes, with specific TEKS referenced, and how they are affecting my instruction. To see the 1998 and 2015 TEKS listed side by side, visit www.tmea.org/K5TEKScompare.

Performance Movement [K.2.c, 1.3.c, 2.3.c, 3.3.c, 4.3.c, 5.3.c]: We now have a dedicated set of standards for moving to music—bravo!

The TEKS specify that the students experience gross motor (big muscles/whole body), fine motor (small muscles—like fingers and toes), locomotor (traveling through space), and non-locomotor (stationary) movement. Folk dances, singing games, and expressive movement to classical music allow students to experience all of these authentically. In the upper grades, the TEKS also call for students to perform “integrated movement such as hands and feet moving together.”

Part Work [K.2.d, 1.3.d, 2.3.d, 3.3.d, 4.3.e, 5.3.e]: Another new set of standards addresses part work. Since we’d all like to hear our older students sing beautifully in parts, it only makes

sense that the foundation must be built in the primary grades.

As I lead students to experience and label heartbeat and rhythm, I take a moment to perform in parts with them (e.g., they patch rhythm while I clap heartbeat, and vice versa). Soon, I can have them try it in two groups. The same holds true for teaching the five voices and experiencing vocal exploration. It’s fun to have the students use their speaking voice to chant “Bee, Bee, Bumblebee” while I sing the song. When we play this chant on rhythm instruments, we have a rhythmic ostinato, which is a second-grade standard. Students will perform rhythmic and melodic ostinatos in third and fourth grade, and simple two-part music in fifth grade, including rounds, partner songs, and counter melodies.

Improvisation [1.4.c, 2.4.c, 3.4.c, 4.4.c, 5.4.c]: Yet another new set of standards, nestled in the Creative Expression strand, is improvisation. This is an area in which I need to improve. I love how the verb explore gives us so much freedom! I plan to give students time to explore sounds on the pentatonic scale and share ideas they find for a few minutes over several days. Then, they can work in pairs, a player and a scribe to write down the player’s ideas using letters. The students can trade jobs until everyone has improvised and notated an idea. Another day, I will set aside time for everyone to practice their idea, and then share them with the class. Next, we could learn to play our ideas on Boomwhackers or hand bells, and notate with colored dots on an iPad app or with diecut circles. Finally, we can record our ideas in standard notation.

For upper grades, students are asked to “create simple accompaniments through improvisation or composition.” Teaching borduns, rhythmic ostinato, and melodic ostinato in grades 1–3 will give Southwestern Musician | October 2015 43

www.music.tcu.edu

students the tools to improvise accompaniments.

Literacy Iconic Representation [K.1.e]: Most of us were likely already doing this, but now it’s in the TEKS. I’ll be even more disciplined about regularly getting rhythmic and melodic icons in front of my students to prepare for literacy instruction in first grade. I’ve created some multiple-choice Zondle topics using short phrases from songs we’ve learned in class (www.zondle.com). Students must choose from four sets of icons. With minimal instruction, most students have been able to do this successfully. With more attention to full group instruction, I expect widespread success.

Rhythm Literacy [1.2.a, 2.2.a, 3.2.a, 4.2.a, 5.2.a]: This may be my favorite thing about the new TEKS. We now have crystalclear expectations that students be able to read, write, and reproduce specific rhythmic elements, including time signatures.

Grade 1 2 3 4 5

Rhythmic Elements Quarter note/rest; paired eighth notes Half note/rest; 2/4 meter (standard notation) Four sixteenth notes; whole note/rest; 2/4 and 4/4 meter Separated eighth notes; eighth- and sixteenth-note combinations; dotted half note; 2/4, 3/4, and 4/4 meter Syncopated patterns

Pitch Literacy [1.2.b, 2.2.b, 3.2.b, 4.2.b, 5.2.b]: Like rhythm

literacy, the TEKS are now specific about the pitches students are expected to learn in each grade. To the great relief of many, the standards leave room for each teacher to use their preferred approach in the primary grades.

Grade Melodic Elements 1 Three pentatonic tones 2 Pentatonic (standard notation) 3 Extended pentatonic 4 Extended pentatonic 5 Diatonic

Traditional Mi-Sol + La

Americanized Do-Re-Mi

Do + Re

Sol + La

Low Sol + Low La + High Do Fa + Ti

Hear Rhythmic and Melodic Elements [1.6.b, 2.6.b, 3.6.b, 4.6.b, 5.6.b]: Not only do students have specific rhythmic and melodic elements to learn, but the new TEKS also require that they be able to hear them in short aural examples. The best practice of teaching sound before symbol appears in all the major elementary music methodologies, so it’s refreshing to see it in our TEKS as well.

Expressive Literacy [K.2.e, 1.3.e, 2.2.c, 2.3.e, 3.2.c, 3.3.e, 4.2.c, 4.3.f, 5.2.c, 5.3.f]: Sound before symbol has also been rigorously encoded in the new TEKS with regard to expression (tempo, dynamics, and articulation). Students read in second grade what they perform in first. After that, new skills are experienced and the symbols are introduced during the same year.

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Southwestern Musician | October 2015 45

Grade K 1 2 3 4 5

Expressive Elements Perform louder/softer and faster/slower Perform allegro/largo and forte/piano Read allegro/largo and forte/piano Perform presto/moderato/andante and fortissimo/pianissimo Perform and identify previous + mezzo piano/mezzo forte Perform and identify crescendo/decrescendo and staccato/ legato Perform and identify accelerando/ritardando and simple/ compound meter

Critical Skills Same/Different [K.1.d, K.4.c, 1.6.c, 2.6.c]: I have always loved the list of opposites in the TEKS, and the new list is more

specific, adding rhythms and pitch patterns to higher/lower, louder/softer, and faster/slower. However, the thing that makes this another favorite change in the TEKS is the addition of “same/ different.” Previously, I would present kindergarten and firstgrade students with two sounds and ask, “Is the second sound higher or lower than the first sound?” If their answer was incorrect, I often suspected it wasn’t pitch awareness that was tripping them up, but the complexity of the question. Now, I present my students with two sounds that are identical in all respects except for their pitch, and ask, “Think about higher and lower. Are the two sounds the same or different?” This isolates the standard within an age appropriate question. By second grade, students are expected to “distinguish between . . .”

Form [2.1.d, 3.1.d, 4.1.d, 5.1.d]: The expectations for learning form have been expanded to include small forms. All of the forms listed are “such as,” meaning they are suggested, but not required.

Grade 1 2 3 4 5

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Form Repetition and contrast; small forms (ab/aaba/abac) Small forms (aaba/abac) Small and large forms (abac/AB/ABA) Rondo Theme and variations

Response to Music [1.6.d, 2.6.d, 3.6.c, 3.6.d, 3.6.e, 4.6.c, 4.6.d, 4.6.e, 5.6.c, 5.6.d, 5.6.e]: This standard is beautifully broad, asking students to “Respond verbally or through movement to short musical examples.” Beginning in third grade, the “or” is replaced with “and.” Many activities we already do would meet this criteria, but I will now take the time to allow my students to respond verbally to what they hear using complete sentences with music vocabulary. A word wall will help tremendously with this. Also in the upper grades, students are asked to describe specific musical events (6.c), compositions, and performances (6.e).

Fifth graders are expected to evaluate. Many of my scholars are in a dual-language program, so giving them the opportunity to use their bodies to express what they hear before they try to use words will help them tremendously. Also, I plan to let students choose whether to do this work alone or in groups, and whether to answer in English or Spanish.

The new standards energized and challenged my planning for this year. There will be small and large changes across all of my classes as a result. A final challenge that should be mentioned is the need to ensure that the new standards don’t negatively affect students. Neither they nor I can rise to more rigorous standards instantly. I’m committed to meeting them where they are, and learning to facilitate the new standards in an atmosphere of joy and inquiry. How will the new TEKS change your teaching?

Patrick R. Lollis is an Elementary Music Specialist at Cannon P Elementary in Grapevine-Colleyville ISD STEM School, and E he h produces elementary music resources. Lollis hosts a Twitter chat at #ElMusEd. You can also join the conversation at the following: patrickspedagogy.blogspot.com and ti www.gcisd-k12.org/Page/33238. w

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ELEMENTARY NOTES

B Y

J U L I

S A L Z M A N

Music memory in the elementary classroom

A

few years ago, my district’s elementary schools began conducting UIL competitions. I was excited because my daughter had participated in UIL Music Memory as a middle school student and I always enjoyed helping her learn about the compositions and composers. However, when it came to implementing the program in my classroom, I found myself challenged to cover the TEKS and my curriculum while also preparing students to be successful in competition.

In the following years, I have come up with a few tricks that have made it much easier to remain thorough in covering my curriculum as well as prepare my students to compete at the district level.

The first step is to do a brief analysis of each piece. By sorting the compositions into categories of style, genre, instrumentation, and form, it is much easier to incorporate them into the curriculum.

Next, review the TEKS and decide which of the skills can be taught utilizing the prescribed list. It is important not to limit the scope to only the grade levels that participate in the UIL competition. There are TEKS that are easily covered in all grade levels by including the UIL Music Memory list.

From the current UIL Music Memory list, here is a sample of activities I will be using that could be carried over to more than one grade level.

Handel: Solomon, The Arrival of the Queen of Sheba TEKS: 1.6.d, 2.6.d, 3.6.d, 4.6.d, 5.6.d: Respond verbally and physically to short musical examples.

For this, I will use 45" peacock feathers. I buy these online from The Feather Place for around $55 per 100. Hint: Feathers are fragile, but the good news is broken ones can be taped back together. The student will stand in a ready position holding the feather in front of them with both hands at the beginning of the music. When the music starts, they put the tip of the feather

Look for ways in which you can accomplish instructing the TEKS while also incorporating Music Memory work into the class day.

48 Southwestern Musician | October 2015

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

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

November 16—TMEA scholarship online application deadline.

December 31—TMEA mail/fax convention preregistration deadline.

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

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on an open hand and balance the feather.

I tell the students to listen and move with the music.

This activity may also be used as a simple assessment of contrasting elements such as instrument families, soft/loud, and high/low by telling the students to hold the feather higher or lower according to what they hear. The teacher then looks across the room and assesses.

Francis Poulenc: Gloria Laudamus te TEKS: 2.5.b, 3.5.b, 4.5.c, 5.5.c: Identify and describe music from diverse genres, styles, periods, and cultures.

The students will stand up or sit down showing recognition of the “Laudamus te” A theme. Each time the words are heard, the students will again stand or sit.

Bach: Tocatta and Fugue in D Minor SQUILT (Special Quiet Uninterrupted Listening Time) activity. I adapted this activity from the Music K–8 Listserv years ago. Before the music starts, students copy the composer and title information from the board and then fill out the rest of the form with help from the teacher. The music is then played. The second section is for grades 3–5 to write what they hear in each section of music. Lower grades

draw a picture for each section. The back of the page is for students to draw their own listening map of the music. (Go to www.tmea.org/squilt for an example.)

Scott Joplin: The Entertainer TEKS: 3.1.d, 4.1.d, 5.1.d: Students

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work in teams with form cards to determine form. I have envelopes with multiple cards labeled Introduction, A, A1, A2, B, B1, B2, C, D, E, Bridge, Coda, etc. The students arrange the cards into the form while they listen to the music. Upon

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Southwestern Musician | October 2015 53

hearing the music the second time, they analyze their results and make any necessary changes. They then compare the form their team decides on to that in the listening map from the Music Memory published materials I purchased. Finally, we discuss the form of the composition as a class.

Samuel Barber: Commando March TEKS: 1.6.d, 2.6.d, 3.6.d, 4.6.d, 5.6.d: Respond verbally and physically to short musical examples.

I use movement cards made by a former student, but there are many different cards available on the Teachers Pay Teachers website. For this activity, the teacher holds up a card and students perform movement indicated in the picture.

It is important to change cards only at the end of phrases to help instill the musical structure in the students. At times, I will also select students to lead. (Go to www.tmea.org/movementcard for an example.)

Louis Prima: Sing, Sing, Sing TEKS: K.2.d, 1.3.c, 2.3.c, 3.3.c, 4.3.c, 5.3.c: Move alone or with others to a varied repertoire of music using gross, fine locomotor, locomotor, and non-locomotor skills and integrated movement such as hands and feet moving together.

TEKS: 1.6.d, 2.6.d, 3.6.d, 4.6.d, 5.6.d: Respond verbally and physically to short musical examples.

Animal Actions Cards: I found these free items on Teachers Pay Teachers –

Schoolhouse Shed. For this activity, I pass out a different animal card to each child and have them explore their animal moves by themselves. As the music plays, I call out the animal names and whoever is holding that animal will join the movement acting out the movement of their animal. After their animal is called, the animal keeps moving in the performance area until the end of the music. The children may trade cards for a second hearing.

power-packed with the latest music publications and successful teaching ideas. Also, plan to attend the performances of the elementary invited groups. Information on the invited choirs and instrumental ensembles will be in next month’s issue of

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

2. Publication Number

Southwestern Musician

5

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8

_

3. Filing Date

3

September 17, 2015

4 0

5. Number of Issues Published Annually

Monthly from August to May (excluding March)

6. Annual Subscription Price

Nine (9)

$20.00

7. Complete Mailing Address of Known Office of Publication (Not printer) (Street, city, county, state, and ZIP+4 ®)

Contact Person

Kay Vanlandingham

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

Music Is Essential!

I hope you have seen the incredible elementary music education video hosted on the TMEA website at www.tmea.org/ musicisessential. This video is intended to help educators everywhere share the message that music education at the elementary level is essential. Let’s all work to make this video go viral! Link it, share it, and email it. Show it at a parent meeting and before your performances!

2016 TMEA Clinic/Convention Update For all the latest and greatest information on the convention, including housing, go to www.tmea.org/convention. To volunteer, complete the online form at www.tmea.org/elementaryvolunteer or email me at julis@angletonisd.net.

The TMEA discounted housing system opens October 1 at 6 A.M. CT. Every year, a few hotels sell out within hours, so make your reservations early!

The elementary music sessions will be

Telephone (Include area code)

512-452-0710 x 103

8. Complete Mailing Address of Headquarters or General Business Office of Publisher (Not printer)

Same as above 9. Full Names and Complete Mailing Addresses of Publisher, Editor, and Managing Editor (Do not leave blank) Publisher (Name and complete mailing address)

Robert Floyd, P.O. Box 140465, Austin, TX 78714-0465 Editor (Name and complete mailing address)

Same as publisher Managing Editor (Name and complete mailing address)

Karen Cross, P.O. Box 140465, Austin, TX 78714-0465 10. Owner (Do not leave blank. If the publication is owned by a corporation, give the name and address of the corporation immediately followed by the names and addresses of all stockholders owning or holding 1 percent or more of the total amount of stock. If not owned by a corporation, give the names and addresses of the individual owners. If owned by a partnership or other unincorporated firm, give its name and address as well as those of each individual owner. If the publication is published by a nonprofit organization, give its name and address.)

Full Name Complete Mailing Address

Texas Music Educators Association

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

11. Known Bondholders, Mortgagees, and Other Security Holders Owning or Holding 1 Percent or More of Total Amount of Bonds, Mortgages, or None Other Securities. If none, check box Full Name

Complete Mailing Address

12. Tax Status (For completion by nonprofit organizations authorized to mail at nonprofit rates) (Check one) The purpose, function, and nonprofit status of this organization and the exempt status for federal income tax purposes: Has Not Changed During Preceding 12 Months Has Changed During Preceding 12 Months (Publisher must submit explanation of change with this statement) PS Form 3526, July 2014 [Page 1 of 4 (see instructions page 4)] PSN: 7530-01-000-9931

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13. Publication Title

14. Issue Date for Circulation Data Below

Southwestern Musician

September 2015

15. Extent and Nature of Circulation

No. Copies of Single Average No. Copies Issue Published Each Issue During Preceding 12 Months Nearest to Filing Date

a. Total Number of Copies (Net press run)

b. Paid Circulation (By Mail and Outside the Mail)

14,285

14,762

14,223

14,726

none

none

Paid Distribution Outside the Mails Including Sales Through Dealers and Carriers, Street Vendors, Counter Sales, and Other Paid Distribution Outside USPS®

none

none

Paid Distribution by Other Classes of Mail Through the USPS (e.g., First-Class Mail®)

none

none

14,223

14,726

none

none

none

none

none

none

none

none

(1)

Mailed Outside-County Paid Subscriptions Stated on PS Form 3541 (Include paid distribution above nominal rate, advertiser’s proof copies, and exchange copies)

(2)

Mailed In-County Paid Subscriptions Stated on PS Form 3541 (Include paid distribution above nominal rate, advertiser’s proof copies, and exchange copies)

(3)

(4)

c. Total Paid Distribution [Sum of 15b (1), (2), (3), and (4)] d. Free or (1) Free or Nominal Rate Outside-County Copies included on PS Form 3541 Nominal Rate Distribution (2) Free or Nominal Rate In-County Copies Included on PS Form 3541 (By Mail and Free or Nominal Rate Copies Mailed at Other Classes Through the USPS Outside (3) (e.g., First-Class Mail) the Mail) (4)

Free or Nominal Rate Distribution Outside the Mail (Carriers or other means)

e. Total Free or Nominal Rate Distribution (Sum of 15d (1), (2), (3) and (4))

f. Total Distribution (Sum of 15c and 15e)

none

none

14,223

14,726

61

36

14,285

14,762

100%

100%

g. Copies not Distributed (See Instructions to Publishers #4 (page #3))

h. Total (Sum of 15f and g) i. Percent Paid (15c divided by 15f times 100)

* If you are claiming electronic copies, go to line 16 on page 3. If you are not claiming electronic copies, skip to line 17 on page 3.

PS Form 3526, July 2014 (Page 2 of 4)

Statement of Ownership, Management, and Circulation (All Periodicals Publications Except Requester Publications) 16. Electronic Copy Circulation

Average No. Copies Each Issue During Preceding 12 Months

No. Copies of Single Issue Published Nearest to Filing Date

a. Paid Electronic Copies

b. Total Paid Print Copies (Line 15c) + Paid Electronic Copies (Line 16a) c. Total Print Distribution (Line 15f) + Paid Electronic Copies (Line 16a) d. Percent Paid (Both Print & Electronic Copies) (16b divided by 16c ¯ 100)

I certify that 50% of all my distributed copies (electronic and print) are paid above a nominal price.

17. Publication of Statement of Ownership If the publication is a general publication, publication of this statement is required. Will be printed

Publication not required.

October 2015 in the ________________________ issue of this publication.

18. Signature and Title of Editor, Publisher, Business Manager, or Owner

Date

Robert Floyd, Editor

September 17, 2015

I certify that all information furnished on this form is true and complete. I understand that anyone who furnishes false or misleading information on this form or who omits material or information requested on the form may be subject to criminal sanctions (including fines and imprisonment) and/or civil sanctions (including civil penalties).

PS Form 3526, July 2014 (Page 3 of 4)

54 Southwestern Musician | October 2015

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Music Is Essential Music Is E Essential Es

TMEA provides a myriad of resources to help members in their role as music education advocates, and we recently added a new advocacy video, Music Is Essential, to our collection. This video communicates that music study is critical for every child. Help TMEA share this message across the state, country, and world. Every student deserves to receive a complete education, and high-quality elementary music instruction is an essential part of that education.

Share the Message: Music Is Essential for Ever y Student Share the video on social media and on your website Advertise the video in your concert programs Play the video before a concert or parent meeting Meet with your administrators and show it to them Find even more at tmea.org/advocacymaterials

share the video share the message

tmea.org /musicisessential Southwestern Musician | October 2015 55

COLLEGE NOTES

B Y

M I C H E L E

H E N R Y

Advocating for advocacy

A

dvocacy. We all need it. We all do it. We are advocates on behalf of the importance of music and of a music education. And likely on our campuses and within the larger music units, we also are advocates for music teacher education. As a division with membership predominantly made up of college-level faculty responsible in some part for the preparation of future music educators, it is important that we are effective advocates for ourselves as well.

As my department and our school of music has begun to respond to our university’s long-term strategic plan, we are coming to realize the need for effective advocacy in what we do among our other music and broader university peers. Like a wedding cake, advocacy is tiered. First, we must establish the importance of music in our lives and then establish the need for education in music. If the need for a music education is well-articulated, conveying the need for a quality music education is an obvious next step. And that’s where we come in. Our educator preparation programs in music not only train outstanding performers and thinking musicians, but they also provide an understanding of how students learn—and specifically how people acquire musical skill and understanding.

We provide future music educators with strategies for more effectively developing musical skill in and transmitting musical understanding to others.

They must have mastery over human learning, musical content, and teaching resources. Additionally, their skill set needs to include organizational leadership, communication strategies, technological proficiency, and the financial acumen to raise and efficiently utilize resources. With all of these responsibilities, the significance of our role in preparing future music educators is apparent. As our ability to clearly articulate our worth increases, so does our perceived value within our academic units and our larger institutions.

One place in which we have an effective and appreciated voice is within

Effective advocacy begins with knowing the facts. The next step in advocacy is knowing our audience.

56 Southwestern Musician | October 2015

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

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

October 9—College Division Fall Conference in Austin.

October 15—Call for Papers deadline.

November 16—TMEA scholarship online application deadline.

December 1—College Division Essay and Composition Contest deadlines.

December 31—TMEA mail/fax convention preregistration deadline.

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

Texas Lutheran University School of Music

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

For specific qualifications for each award, visit www.tlu.edu/music-scholarships.

SCHOLARSHIP AUDITION DATES: Saturday, January 23, 2016 Sunday, February 21, 2016 Saturday, March 5, 2016 Sunday, April 3, 2016

1:00 to 3:00 p.m.

1:00 to 3:00 p.m.

1:00 to 3:00 p.m.

1:00 to 3:00 p.m.

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

Beth Bronk Director of Bands bbronk@tlu.edu

Shaaron Conoly Director of Vocal Studies sconoly@tlu.edu

Eric Daub Director of Piano Studies edaub@tlu.edu

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

Director of Strings ejeffords@tlu.edu

www.tlu.edu/music

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our association. The College Divisionâ&#x20AC;&#x201D; what we do and what we contributeâ&#x20AC;&#x201D;is respected and valued by TMEA leadership and by the membership as a whole.

As one of five divisions represented on the Executive Board, our input and expertise is desired and solicited in meaningful ways. We should be grateful to TMEA for their recognition of the service that we provide in the lifecycle of music education.

TMEA also advocates on our behalf.

Over the past year, TMEA officials and College Division leaders have worked diligently with Texas Education Agency and State Board for Educator Certification officials to advocate for repealing the newly adopted â&#x20AC;&#x153;currently certifiedâ&#x20AC;? language for university field supervisors.

While this process is ongoing, and no final decisions have been reached, we have successfully lobbied for the reconsideration of this requirement, and as a result, our input has been solicited for alternatives to the existing policy.

Regardless of the situation, effective advocacy begins with knowing the facts.

The next step in advocacy is knowing our audience. The late Steve Paul, band

Ideology: Personal beliefs and convictions Rationale: Beliefs shared by a group of like-minded individuals -XVWLĂ&#x20AC;FDWLRQ Fact-based information acknowledged by unrelated individuals â&#x20AC;&#x201D;Steve Paul director and music educator, articulated the importance of crafting a message to its receiver. Paulâ&#x20AC;&#x2122;s terminology identified individual efforts attempting to persuade a group of people who know and like you as an ideology. What is conveyed is personal and often emotional, but not necessarily objective. But because your listeners know you and care about you, your opinions and feelings can be persuasive. In conversations with those holding similar values, ideals, and positions (in this case, other music educators and friends of the arts) Paul suggests that it is most effective to present a shared rationale. While still experientially based, given that everyone in the conversation agrees on the importance of the topic, at least to some extent, the content of these conversations is more professional and oriented around information known and accepted as truth by the group. When approaching individuals

or groups who do not have an obvious shared value or appreciation, a justification is needed to persuade them to believe something that perhaps they didnâ&#x20AC;&#x2122;t believe before or had never really considered. It is most important for these discussions to be rich with facts and offer connections with areas that are already accepted and valued by that particular audience. Knowing who is listening is prerequisite to crafting an effective argument.

To help facilitate effective advocacy, not just for the College Division, but for the whole of TMEA, our second featured clinician for the 2016 TMEA Clinic/Convention, Steve Demorest from Northwestern University, will present a session on authentic advocacy. In this session, co-presented by Texasâ&#x20AC;&#x2122;s own Bob Duke, from UT/Austin, they will focus on ways to present more persuasive evidence when advocating for music in our schools.

Louisiana State University

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Steven M. Demorest Featured Clinician Steven M. Demorest is professor of music education at Northwestern University where he teaches graduate and undergraduate courses in choral music methods, music cognition, research methods, and philosophy. His research interests include the cognitive, neurological, and social foundations of inaccurate singing, the cultural neuroscience of music, and sight-singing pedagogy.

Demorestâ&#x20AC;&#x2122;s recent publications include Choral Music Methods and Materials (2nd Edition) with Barbara Brinson and chapters in Diana Deutschâ&#x20AC;&#x2122;s The Psychology of Music (3rd Edition), Neurosciences and Music V: Cognitive Stimulation and Rehabilitation, and the Oxford Handbook of Music Education. He publishes in scholarly journals from the cognitive neuroscience, music cognition, and music education fields. His research on singing development was recently featured in The Atlantic, Science World Report, and the Chicago Tribune.

SACRED MUSIC AT OLLU

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

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

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

Demorest serves on the editorial boards of Music Perception, Musicae Scientiae, Empirical Musicology Review, Reviews of Research in Human Learning and Music, and the International Journal of Research on Choral Singing. He is a member of the executive committees for the Society for Research in Music Education and the International Conference on Music Perception and Cognition. In 2007 he received the Weston H. Noble award for outstanding contributions to choral music from Luther College, his alma mater.

In addition to his session on advocacy, Demorest will present sessions on singing and well-being, promoting musical independence in the ensemble, and myths and facts surrounding tone deafness.

Register for the Convention and Bring a Colleague Be sure to register for the 2016 Clinic/ Convention, February 10â&#x20AC;&#x201C;13. If you know colleagues who havenâ&#x20AC;&#x2122;t attended recently, email them and invite them to join you! The more attendees we have from our division, the more opportunities for learning we all can enjoy!

Last Call If you have not yet registered for the College Division Fall Conference, please do so immediately by emailing Michele_ Henry@baylor.edu. The conference will be held Friday, October 9, from 10 A.M. to 3 P.M. at the TMEA offices in Austin.

The deadline for submitting abstracts for the 2016 TMEA Clinic/Convention Research Session is October 15. Submit to Amy.Simmons@txstate.edu. Additional information is at www.tmea.org/papers.

Donâ&#x20AC;&#x2122;t Forget the College Students Encourage your college students to join TMEA now to take advantage of all of the benefits of membership. Deadlines for our competitive programs are fast approaching: â&#x20AC;˘ Scholarship Application Deadline: November 16 (www.tmea.org/ scholarships) â&#x20AC;˘ Essay Contest Deadline: December 1 (www.tmea.org/essaycontest)

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â&#x20AC;˘ Composition Contest Deadline: December 1 (www.tmea.org/ compositioncontest)