September 2014 Southwestern Musician

SEPTEMBER 2014

The Future of Music Education in

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43 FEATURES

SEPTEMBER 2014

10

Tutti

23

Tailoring Rhythm Instruction

VOLUME 83 — ISSUE 2 On the cover: On the cover: Zachary Borromeo, senior in the Spring HS Band, rehearses with the 2014 All-State Symphony Orchestra. Photo by Karen Cross.

COLUMNS

In this month’s installment, TMEA members share their favorite apps and other technology, insight into pacing for beginners, and thoughts on balancing work life and home life.

While rhythm is a primary musical element, teaching rhythm often occurs only when there is a problem. Learn how to improve your students’ skills by providing purposeful, daily rhythm instruction.

BY GARWOOD WHALEY

32

Break the Habit, Not the Kid <RXU KDELWV DUH UHĂ HFWHG LQ WKH EHKDYLRU RI \RXU VWXGHQWV Consider how you can modify your approach and foster a more enriching and joyful experience for your students and yourself.

BY MARY HAVENSTRITE AND DEBORAH PERKINS

43

With the Right Support You Can Thrive ,Q WKH Ă&#x20AC;UVW RI D WZR SDUW VHULHV IRXU SURWpJpV LQ WKH 70($ Mentoring Network offer what they learned through their partnerships with their mentors during the past year.

BY KAREN CROSS

Presidentâ&#x20AC;&#x2122;s Notes .............................................. 4

by Janwin Overstreet-Goode Executive Directorâ&#x20AC;&#x2122;s Notes..................... 7

by Robert Floyd

UPDATES

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

by Andy Sealy Presidentâ&#x20AC;&#x2122;s Concert to feature the Swingle Singers....................................2

Orchestra Notes ...............................................26

by Craig Needham Vocal Notes ............................................................37

by Dinah Menger Elementary Notes .......................................... 48

by Colleen Riddle College Notes ......................................................54

by Michele Henry

2015 TMEA Clinic/Convention: The Best Place to Learn............................9 Honor Band Winners and Finalists ............................................................ 18 Honor Orchestra Winners and Finalists .................................................... 30 $1,000 Grants Available to Middle School Music Programs ................... 31 Southwestern Musician | September 2014

1

Editor-in-Chief: Robert Floyd UĂ R\G@tmea.org H[W )D[

Managing Editor: Karen Cross

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Orchestra Vice-President: Craig Needham Craig.Needham@richardson.k12.tx.us ( 6SULQJ 9DOOH\ 5RDG 5LFKDUGVRQ ² %HUNQHU +6

Vocal Vice-President: Dinah Menger d.menger@sbcglobal.net :HVWFUHVW 'ULYH $UOLQJWRQ ² %D\ORU 8QLY

Elementary Vice-President: Colleen Riddle criddle@aldine.k12.tx.us ( 1RUWK +LOO 'ULYH 6SULQJ ² 0 2 &DPSEHOO (G &HQWHU

College Vice-President: Michele Henry

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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: 6XVDQ 'DXJKHUW\ | susand@tmea.org Administrative Assistant: Rita Ellinger | rellinger@tmea.org Communications Manager: Karen Cross | kcross@tmea.org Financial Manager: Laura Kocian | lkocian@tmea.org Information Technologist: $QGUHZ 'HQPDQ | adenman@tmea.org

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Southwestern Musician | September 2014

The UTSA String Project (founded in 2002 under music faculty member Eugene Dowdy) provides string education majors the opportunity to develop skills needed to become successful and powerful educators. The string project mostly serves the San Antonio communities without string programs and has recently expanded to offer music instruction to over 150 children and seventeen music major teachers on both the UTSA Main and Downtown campuses.

facebook.com/UTSAMusic (210) 458-4354

hĆŠp://music.utsa.edu

35(6,'(17·6 NOTES IMPORTANT DATES September—Renew your TMEA membership and preregister for the 2015 convention.

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

December 31—TMEA convention mail/fax preregistration deadline.

January 22, 2015—TMEA convention online preregistration deadline.

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

You make the difference % < - $ 1 : , 1 2 9 ( 5 6 7 5 ( ( 7 * 2 2 ' (

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n Ethical Teacher shall make every effort to protect the physical and mental health and safety of all students.

(TMEA Code of Ethics – Responsibilities to the Students, Section 2.12) Our actions, as educators, have an effect on our students every minute of every class period. Every time we step in front of our classes or performing ensembles, we have the responsibility and duty to approach our teaching with integrity.

Haim G. Ginott was a clinical psychologist, child therapist, parent educator, and author whose work has had a substantial impact on the way adults relate to children. He began his career as an elementary school teacher in Israel in 1947 before immigrating to the United States. In his book Teacher and Child: A Book for Parents and Teachers, Ginott states, “I have come to the frightening conclusion that I am the decisive element (in the classroom). It is my personal approach that creates the climate. It is my daily mood that makes the weather. I possess tremendous power to make life miserable or joyous. I can be a tool of torture or an instrument of inspiration; I can humiliate or humor, hurt or heal. In all situations, it is my response that decides whether a crisis is escalated or de-escalated, and a person is humanized or dehumanized.”

Teachers have a tremendous responsibility: to set the climate and tone of the classroom. It is also our responsibility to not allow personal feelings, upsets, disappointments, or defeats to affect our relationships with our students and classes. We should approach every day and every class with the same excitement and enthusiasm as if it were the first day of our teaching careers.

Section 2.17 of the Code of Ethics states, “An Ethical Teacher shall design and employ methods of instruction that provide the highest educational and

We should all continue to set higher goals for our students and ourselves. Seek out new opportunities for your students as both performers and audience members.

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Southwestern Musician | September 2014

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musical experiences and instill a lifelong appreciation of music and the arts.”

Here in Texas, many of our programs already provide the highest educational and musical experiences possible. We should all, however, continue to set higher goals for our students and ourselves. Seek out new opportunities for your students as both performers and audience members. Perform for a sporting event in your community; take a small ensemble to sing or play at a local nursing home. Search out community, professional, or semiprofessional performances for your students to watch.

We are music educators because we have a love for music—whether it’s performing, teaching, or listening as an audience member, our main job is to share that passion with our students and to encourage and influence them to also love this art form throughout their lives. As Ginott further states, “Children are like wet cement; whatever falls on them makes an impression.” Our words and actions may have more influence on our students than we realize—until we get that thank-you note or letter from a former student. And that one note or letter represents scores of others who simply didn’t take that time.

Ginott also states, “While parents possess the original key to their offspring’s experience, teachers have a spare key.

They, too, can open or close the minds and

2015 PRESIDENT’S CONCERT

The Swingle Singers www.tmea.org/ convention

6

Southwestern Musician | September 2014

hearts of children.” Be sure you are opening the minds and hearts of your students every day, in every class. Be an inspiration and encourager; give your classes positive reinforcement each day. You will reap the benefits and rewards as much as, or probably more than, your students.

To conclude, Ginott writes, “If we treat people as they are, we make them worse.

If we treat people as they ought to be, we help them become what they are capable of becoming.” Through your daily actions and interactions with your students, you can help them become contributing musicians now and in the future.

2015 Clinic/Convention Update As you read through the VicePresidents’ columns in this issue, you will learn about the incredible featured clinicians who will be presenting sessions Wednesday–Saturday of our convention.

These nationally known master educators have a wealth of knowledge and experience to offer, so be sure to include their clinics in your schedule and enjoy learning from the best!

I am equally excited to announce that the Swingle Singers will be making a return performance during our convention for the President’s Concert on Wednesday at 8 P.M. in Lila Cockrell Theater. This London-based a cappella group last performed at our convention in 2011, and audience members were thrilled with their extraordinary performance of classical to contemporary literature. Once again, TMEA is offering you a professional concert at the low cost of $10.

When you register, be sure to purchase your tickets.

With convention in mind, know that on October 1 at 6 A.M. Central Time, the housing reservation system for members will be available online. TMEA negotiates years in advance for the best possible rates with downtown hotels, so use this system to make your reservations. Be sure to reserve your hotel early, as most will sell out—some within hours of our housing system being online.

The time is now % < 5 2 % ( 5 7 ) / 2 < '

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usic educators expecting high-quality materials for your classrooms should be aware that recent changes in Texas law could affect your ability to obtain the necessary materials to ensure your offerings are accredited. Your attention and involvement as an expert in your field will be essential as you compete for instructional materials dollars with other areas such as technology and teacher professional development.

At the conclusion of the 82nd legislative session in 2011, Governor Rick Perry signed into law Senate Bill 6, a bill that completely restructured how instructional materials are provided to school districts, teachers, and students.

If you have taught in Texas any length of time, you know that dollars from the Permanent School Fund, managed by the State Board of Education, are sent to the legislature every two years, and the legislature then appropriates those dollars into the budget earmarked for instructional materials. Money from this fund, currently valued at over $31 billion, is designated by the Texas constitution to be used for, as a veteran Board member states, “textbooks for the children.”

Historically there has always been debate between the SBOE and the legislature about how much money should be sent over each biennium and how those dollars have to be allocated. The legislature, on a past ruling by the state attorney general, manages to carve away some of those dollars for other purposes, and districts do not always receive the materials they need. In the past these dollars were to be spent for designated subjects that rotate on a Proclamation cycle created by the Board. New materials are proposed by these Proclamations for subjects for which new TEKS have recently been developed. In 2005 TMEA spent many hours at the capitol fighting for the dollars to fund the last fine arts Proclamation. We were successful, and ultimately Governor Perry approved those funds during the summer of 2005.

Fast-forward to September 2014. Because of SB 6, the dynamics of funding for instructional materials for fine arts and all other academic subjects has significantly changed. I’m sure you are aware that, as a condition of accreditation, our new music TEKS must be implemented in the classroom beginning August 2015. However, the process by which your district can order those

(;(&87,9( ',5(&725·6 NOTES IMPORTANT DATES September—Renew your TMEA membership and preregister for the 2015 convention.

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

December 31—TMEA convention mail/fax preregistration deadline.

January 22, 2015—TMEA convention online preregistration deadline.

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

The process by which your district can order supporting materials has completely changed.

You must get involved as the competition for dollars at the local level could negatively affect your access to instructional materials.

Southwestern Musician | September 2014

7

supporting materials has completely changed. Gone are the days when districts could order materials from the state and a textbook depository would ship them to your district, with the state paying the bill.

Districts are now given an allocation of dollars called the Instructional Materials Allotment (IMA). Districts use those funds to purchase instructional materials from a myriad of sources. However, in addition to using those funds to buy instructional materials for a recent Proclamation, districts may also use those dollars to buy technological equipment

8

Southwestern Musician | September 2014

as well as provide related professional development.

Proclamation 2015 includes secondary mathematics, all social studies (K–12), and all fine arts (K–12). There is speculation that the amount ultimately allocated for this Proclamation to purchase all materials for those subjects statewide could be short by as much as $100 million. That estimated shortfall doesn’t even factor in a district’s option to use a portion of the IMA to buy technology such as laptops, iPads, or other handheld devices.

So how does this affect you as a music

educator? Realistically, your district’s decision-makers could advise you that instead of investing in new music materials, they have chosen to buy iPads for each high school student. They could then further instruct you to simply find materials on the Internet that would suffice. That approach would be a drastic turnaround from how you received funding for the new materials in 2005.

This problem is compounded by the fact that the legislature does not begin meeting until January, and a budget will not be adopted until at the earliest the last few days of the session in late May. Your district, however, has probably already begun the discussion about how they will spend their IMA, contingent on how much funding is received, and this discussion will continue throughout the school year.

So what can you do? Start now to investigate who the decision makers are in your district. Begin to build your case for your students needing new materials.

Familiarize yourself with the new music TEKS and what materials will serve your students best. A process still exists through the State Board of Education and Texas Education Agency to determine what percentage of the TEKS is covered by each submission. However, your district may buy materials that have not been through this review process. If you choose such materials, prepare to convince your district why you want materials that have not been vetted by a state review committee. Some districts have already gone on record that they will buy only materials that have been through the review, so you will need to be persuasive in your argument.

In the final analysis, SB 6 requires that school districts must certify that students are being provided instructional materials that cover 100% of the TEKS for any academic subject, so this requirement in law is in many ways your trump card.

TMEA will be working at the capitol in collaboration with many interested parties to maximize funding for the IMA and for Proclamation 2015, but you must make sure that you stand up for your program and your students at the local level. Please call me with any questions you may have about the process, and I will do my best to assist you.

TMEA Clinic/Convention F E B R U A R Y 11 –14 S A N A N T O N I O W W W . T M E A . O R G / C O N V E N T I O N No one else offers this many learning opportunities in 4 days: 300+ clinics 100+ performances Open rehearsals of 15 All-State groups Full-day technology preconference

Learn from nationally known featured clinicians and other master educators as they offer their experience and expertise.

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Southwestern Musician | September 2014

9

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What is your favorite music-related app and why?

Stacy Clark, La Vernia HS Band, La Vernia ISD: This is a hard question to answer because I use several different apps, depending on the class. However, TonalEnergy Chromatic Tuner is an app I use with beginners through high school students. For an app, it has one of the most accurate tuners (I’ve tested several), and the fact that it also has a metronome is a definite plus! It also has a tone generator; you can see an analysis of sound; and you can record a student and play it back so they can hear and see their sounds. And of course, I have to mention Mr. Smiley—students love getting the green smiley face when they play in tune!

Scott Mason, Coppell HS Band, Coppell ISD: The Practice Center app allows my students to make videos of themselves taking a playing test, passing off music, or showing me how they practice. This app has a camera and a metronome that can be used while they make the recording or as a silent beat. It also has a timer on it and tuning drones that they can use to hear the relationships between intervals and their music.

Douglas Morris, Lamesa HS Band, Lamesa ISD: I am a big fan of DaTuner Pro Chromatic Tuner app for my Android device.

This app is a great tuner and easy to use. There is a “Lite” version that is free. Since most of our students have smartphones, we are embracing the technology and utilizing it to the fullest. Our students place their phones on their stands for every rehearsal. It is making a huge difference in their awareness of natural pitch tendencies. This app is readily available, as are similar apps for metronomes.

10 Southwestern Musician | September 2014

Eric Rokohl, C.E. King HS Band, Sheldon ISD: For me, it is a tie between Frozen Ape’s Tempo and Tempo SlowMo. I find both very helpful for personal and classroom use. Frozen Ape Tempo is a fully-featured metronome that I can use during class and I can create set lists with it for when I need to preset certain tempi. I like to use Tempo SlowMo with students to help them slow down technical passages so they can develop a better understanding of the passage rather than guessing because they just hear a blur.

Jonathan Sweet, A&M Consolidated HS Band, College Station ISD: I am a big fan of forScore. It allows me to import scores that our groups are working on (marching band music, pep music, concert literature, chamber music, etc). It is convenient not to have to carry around or look for small scores. Additionally, I like to project scores for the students to see while we are working on them. Students then have real-world knowledge of what is going on and can synthesize that with what they are hearing.

Gary Williams, Cockrill MS Band, McKinney ISD: My favorite app is called 30/30. It’s not music related, but it transfers incredibly well to our band classes. It operates as a fully customizable task list and has been extremely helpful in maximizing every single second of our classroom instruction. Best of all—it’s free!

Liz Householder, The String Society, Spring: I love the Sing With The Best app because even though it’s geared toward singers, I can use it with string players. It includes a tuner and it also measures the speed of your vibrato. When I’m training vibrato with intermediate- to advanced-level students, I love to be able to

To review all the apps recommended by TMEA members who answered this question, go to www.tmea.org/tutti.

show them what different speeds of vibrato look and sound like.

Kathy Aldridge, Private Instructor/Vocal, The Woodlands: My favorite app has become Music Teacher’s Helper. It’s made for private music teachers and has become the center of my private studio business. It offers a helpful calendar, student records, expense records, mileage records, payments, invoices, appointments/lessons, and more.

Andrea Hutchison, Clute IS Choir, Brazosport ISD: Blob Chorus Ear Training is my students’ favorite app! It offers a great ear training game. Each blob sings a pitch, and then the King Blob sings one. You select the blob that sang the same pitch as King Blob. If you guess wrong, the blob explodes! I use it with groups, and students hold up fingers for their answer. It’s great for that last five minutes or as a warm-up activity.

Sandra Divnick, Regency Place ES, North East ISD: NotateMe Now is a traditional notation app that is free (with an option to upgrade). It intelligently learns students’ handwriting, and gives them the opportunity to practice creating/improvising/editing music. After they write their notes on the staff, the app translates their handwriting into computer-generated notes on the staff and plays it back for them. It’s very engaging!

Curtis Donohue, Rummel Creek ES, Spring Branch ISD: Three Ring app has transformed the way I assess and record my students’ progress in class. Three Ring allows me to take notes, make audio/video recordings, and enter assignments and grades using my mobile device. I have the app on my iPhone, iPad, and computer. Anything I add on one device is automatically synced to the others. The recording function has been particularly helpful with playing tests. When students or parents have a question

about a grade, I can play the recording for them, explain specific problems, and reevaluate the grade assigned if needed.

Patrick Lollis, Cannon ES, Grapevine-Colleyville: MetaXylo+ is a free Orff keyboard emulator. Students can choose metallophone or xylophone and can change the key. They can also remove notes they don’t need by double-clicking the note name.

There is an English version of the app with letter names and a French version that uses fixed do (helpful only in the key of C).

What technology do you use often in instruction or assessment?

Conrad Flusche, Mexia JH Band, Mexia ISD: We use a Mimio board projection system. I display rhythm slides and can mark on the displayed image projected onto our whiteboard. One click and the marks are gone. I use my iPhone to advance to the next slides.

Tiffany McWilliams, Kilgore MS Band, Kilgore ISD: Teacher iPad—I use it to take roll and project information on the board, as well as to record, tune, and do counting exercises. Right now I am using it to answer these questions.

Eric Rokohl, C.E. King HS Band, Sheldon ISD: Bluetooth technology—instead of hooking up a loudspeaker inside, we invested in a couple of inexpensive Bluetooth receivers we purchased online and paired our phones and computers to it for playback. This gives us mobile access to metronomes, drones, recordings, etc.

Southwestern Musician | September 2014 11

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Amanda Ransom, Henry MS Choir, Leander ISD: I use my Roland RM 700 digital piano all the time! I have our accompanist come in and record the accompaniments for our songs and use those recordings in rehearsal. We record MIDI files so I can slow them down or speed them up, transpose, or layer in voice parts as needed. My students learn how to use it and can rehearse themselves when we split into sections. I honestly don’t know what I would do without this piano.

Curtis Donohue, Rummel Creek ES, Spring Branch ISD: I find myself using the Reflector AirPlay receiver by Squirrel every day. It allows me to project my iPad, iPhone, laptop, or other device wirelessly, using any projector hooked up to a computer.

This means I can run Peterson’s iStroboSoft tuner app on my iPad while walking around the room, and the kids can see it clearly projected on the board. At $11, this is a much cheaper alternative than other devices that do the same thing for over $99.

Patrick Lollis, Cannon ES, Grapevine-Colleyville ISD: My students use Zondle every day. It’s a free app/website usable on a computer, tablet, or smartphone. The teacher creates topics (or borrows them) and assigns them to classes. The students choose one of the assigned topics and a game they like to play while studying. They get lots of good practice embedded in fun games and you get detailed feedback on each student’s progress within the various topics.

Mark Parker, Robinson ES, Clear Creek ISD: I have been using iDoceo, a great app for keeping grades, seating charts, calendars, schedules, and more. It is colorful and keeps so much information all in one place. You can even store pictures of your students in the seating chart area, which is great to print out for a substitute. You can find iDoceo on the App Store. As yet I have not seen this app available for other formats.

Sara Yancey, Hodges ES, Lubbock ISD: I use an interactive whiteboard every day in my elementary music classroom. It has been a lifesaver. I organize my lessons using it. Each morning, all I have to do is retrieve a grade-level activity and everything I need for that lesson is up and ready to use. Our SMART Board also allows me to provide the students with interactive activities for practice and assessment purposes. I can set it up with beats and rhythm choices for students to drag the correct rhythms after hearing a rhythm pattern, or as a cloze rhythm practice within known songs. I can set up a relay game where students choose rhythm or melody motives from aural examples. The game is set up to reinforce when correct and not respond on incorrect responses.

Allyson Wells, Houston Community College NW: To my surprise, I often use YouTube. When I hear an interesting piece of music on the radio as I’m driving to campus, I can walk into the classroom, cue up a YouTube video of the piece, have the students comment on what they’re hearing, and have them try to notate it.

I can email a link to the video to the students during class for their further listening/viewing. This is a wonderful supplement to our other aural-skills exercises and resources. It’s also great for the students to see what the performers look like. For instance, many of the students at our community college have never had the opportunity to attend a performance by a professional orchestra.

How do you ensure proper pacing in a beginner class?

Randy Bloodworth, Retired Band Director, Spring: As the beginners progress through the beginning band book in use, the class is tested each day on one or two of the lines assigned the day before. If the majority of the students can successfully perform the line, the class moves forward. The students are also placed in chair order according to their performance skill level evaluated through this line test. The students get to the point that they are motivated by the chair placement they receive on the test.

Christian Holzer, Stafford MS Band, Frisco ISD: You can generally read a beginner class pretty well through body language.

In a typical beginner class you should have two primary goals: (1) It should be educational. Students should be respectful and actively participating at all times. If a student is not attentive they are most likely not learning. As the teacher, you must know the level of every student to help them. This starts by hearing them individually as much as possible. Never spend more than 8–10 minutes on one concept. (2) You must have fun! Tell a joke—the lamer the better, and ask them questions. Set a ground rule from day one that you are the teacher, and they must be polite and raise their hands to speak.

Stanford Lewis, Chavez HS Band, Houston ISD: The best way to check for proper pacing is to watch the students. As you teach the material, they will let you know through their actions if the pace is right. Students who are enthusiastic, but can’t play with acceptable sounds, are moving too quickly. You need to slow them down and work on the fundamentals. Students who play well, but don’t seem very interested, are moving too slowly. Try spicing up the lessons with a few extras in all sections. You can give them more challenging notes to learn or more complicated rhythms on specific notes. Pacing is everything and in the end will be one of the deciding factors as to when the first performance will be. In a nutshell, listen to the group and the individual sounds, and the pacing will reveal itself to you.

Amber Metzner, Alamo Heights HS Band, Alamo Heights ISD: At all times, I try to be sure that I understand the capabilities and needs of the most advanced students and the least advanced students. I base the range of my instruction between those extremes. Each day I return to the beginning of the unit and then inch forward, making sure that the most advanced student is challenged as well.

Linda Smith, Westbury Christian School Band, Houston: We make sure each student plays individually for the class every day.

With short class periods, this is done by turning on the metronome and going down the row. It doesn’t take very long and students are held responsible for their practicing. It also helps us assess mastery both individually and for the class.

Warren Seago, Aragon MS Band, Cypress-Fairbanks ISD: Take the time to hear each student every week in addition to performance testing. Time must be taken to hear every student on a skill and assist those who need help with mastery. I teach my beginner classes more like a master class where everyone is involved in the discussion.

Tracy Collins, Kaufman HS Choir, Kaufman ISD: Use sight singing books and monitor individuals as they sing. Divide the Southwestern Musician | September 2014 13

choir into sections and allow the section leader to control the pace of their section.

Carol Pyle, Choral Clinician and Private Voice Instructor, Weatherford: Consistent small-group assessment allows me to know where each individual is on the material being covered. I give a short rhythm assignment set, for example, and hear small groups perform alternate lines of it together in the rehearsal. I can tell what each member did, if the groups are small enough (3–5 students), and I give a pass/fail grade (with + and – also) on my seating chart. I hear everyone at least twice a week on some elements of the fundamentals they are learning. The assessment then guides the pace of instruction and the strategies to be adjusted for some individuals.

Bonnie Kuehl, Iduma ES, Killeen ISD: The awareness of students’ nonverbal communication is critical. If there is a lot of shifting in chairs and blank looks, it’s a signal to reteach. One of the other things I’ve seen work well is to employ peer tutoring and working in small groups (usually no more than four students per group) to offer opportunity for students to figure out the details of the concepts. The small-group format allows the teacher to move among the groups and more efficiently determine where students are being successful and where they need more support. Making notes allows me to modify my lesson plans to ensure better understanding. I have also found that how I format my questions makes a difference in how students express themselves. I feel it’s important to help students understand what they know and what they yet need to learn.

How do you balance your work life and your home life?

Bill Watson, Lewisville ISD: I actually plan out both work time and leisure time on my iPhone and stick to it.

Jack Brossette, Paducah HS Band, Paducah ISD: We try to get everything done during the workday, thereby limiting afterschool rehearsals. Non-competition weekends are my time, and I do nothing work-related, unless it is an emergency. Living in a small town, we try to get out of town once a month for a break.

Christian Holzer, Stafford MS Band, Frisco ISD: A great idea I got from a parent was to leave your cell phone by the door when you get home. It really helps!

David Jasso, East Montana MS Band, Clint ISD: I leave work at work, and when I’m home, I’m home—no exceptions.

Ryan Kersey, Clear Lake HS Band, Clear Creek ISD: I’ve found that the day-to-day housekeeping eats up more time than it deserves. Staying ultra-organized has helped me cut that down by a fair bit. I tried keeping formal to-do lists but never could keep them current. I have, however, found new success keeping in/out boxes labeled Today, This Week, Later (1+ weeks), and File Me. The today box is on top and I know I must clear it by the end of the day. The rest helps me keep an organized time line without it turning into a big to-do pile that has no context for completion.

Alison Maguire-Powell, de Zavala MS Band, Irving ISD: This isn’t as hard for me, since I don’t have children yet, but I make

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14 Southwestern Musician | September 2014

sure that when I’m home with my husband I am truly present and paying attention. I try to make sure that the time we have together is quality time. I also maintain non-musical hobbies—I play roller derby a few hours a week and it’s a great outlet for stress.

Scott Mason, Coppell HS Band, Coppell ISD: I find this to be the single greatest concern of my life presently. We sometimes create our own monsters in what we develop our programs to become. I believe that each year you do not have to top the previous year. You will receive pressure from parents, students, administration, and even yourself to do so. You have to take the time in the summer to evaluate what you want to accomplish this year and how much time to dedicate to each project, and then try to stay within those guidelines. I also believe I don’t utilize the resources around me as much as I should, whether they be other directors, teachers, parents, or students.

Leigh McClain, Griffin MS Band, Lewisville ISD: Being a parent with my own children in band has really helped me with balance. If your own children and family can’t manage your band schedule, you might have a problem! Witnessing my own kids’ attitudes toward the program has helped me build a more family-friendly environment.

It’s not about time spent, but how you choose to spend that time.

Douglas Morris, Lamesa HS Band, Lamesa ISD: One of the most difficult things for music educators to do is say no.

There will always be something we need to do at school, always someone asking for something else. We have to learn to say no.

Whatever you are working on will be there tomorrow. My wonderful wife of 27 years has taught me how to see the difference between those things that must be done today and those I want to get done today. When I am well-rested, mentally and physically, I am better at my job. Putting in unnecessary hours becomes counterproductive. We must prioritize.

Bryan Buffaloe, Clear Lake HS Orchestra, Clear Creek ISD: This very subject is why so many young teachers burn out and leave the profession. The fact is, you do not have to give up your life and live at your school to be successful. Although many do, it is a choice, not a necessity. I would suggest planning your home/family time first. Block off 1–2 evenings a week when you will not do school-related work. Then plan the remainder of your week around your personal time.

Although it makes for a long day, plan extra rehearsals or sectionals on just a few days rather than every day. Block out one afternoon to get paperwork done and shut down the rehearsal room from students so you are not interrupted. Most importantly, remember you are only one person trying to take care of many. Ask parents if someone is willing to come in once or twice a week to make copies, file music, create a program, organize and issue uniforms, and collect money.

You will be surprised at how much this takes off your plate.

Robert Dierdorf, Katy HS Choir, Katy ISD: There is no perfect answer. Try to be efficient at your job and use your time wisely, but if you are married to your work, there will be problems. If something needs to give, it should be your job yielding to your family. After having heart bypass surgery five years ago, my priorities got quickly adjusted for me. We often define ourselves by our work, but our jobs are never as important as our families.

I also learned to let job stress roll off me more so as not to bring it home to my family.

Sean Pullen, West Texas A&M Univ Choir: Even though I cannot boast of any mastery in this area, I’ll offer my thoughts.

Anything of quality requires time and effort. No one can achieve excellence at the office without putting in the hours and sweat. If the family is more important than the job, it stands to reason that our exertion at home must be greater than it is at work. I doubt any of us who expect a high standard in our occupation could honestly say that our rigor at work equals our energy at home.

We must try harder. If we really think about it, it is not about balance. Our loved ones should tip the scale to a point of imbalance in their favor. So what is the solution? We need to go home at a decent hour. We need to talk to our spouses like they are the most important people in our lives. Our children need to know they are our favorite kids.

Amy Goode, Mathews ES, Austin ISD: During the school year, I set an alarm on my phone for the end of day in my teaching assignment—3:30 P.M. This keeps me from mindlessly working past the set school day. I might still put in extra time, but at least I am more mindful of how much I am staying late.

Southwestern Musician | September 2014 15

We all need help B Y

A N D Y

S E A L Y

T

he same thing occurs to me about this same time each year. I have no idea what I am doing out there!

As the heat-induced frenzy of summer band wears off and we settle into a classroom routine, I finally begin to notice how the students assemble their instruments and how they really sound when they play their daily drill. I evaluate their movement fundamentals and study those first tentative marching band performances. I find myself just seconds from slamming down the panic button as the realization hits me like a ton of bricks. I need help.

This is not a new or unique sensation for me. I can still remember my apprehension (bordering on terror) as a first-year teacher facing that fifth-grade general music class or that seventh-grade choir class. Very little of my academic or educational background prepared me for the demands of those classrooms, and I sincerely hope those students succeeded despite it. It’s a wonder I was not duct-taped to the wall right from the start. Sometimes it is difficult for a young teacher to reach out for assistance. It’s difficult to admit we do not have all the answers, and it’s even more difficult to be vulnerable enough to share our insecurities and limitations with others. Fortunately for me, a support network of wonderful, caring, and experienced educators from across the curriculum reached out. They listened, observed, provided valuable feedback, and mentored me through those early years. Their wisdom and passion for education not only

A good mentor is a lifelong learner. Good mentors are candid about their personal search for more effective solutions and better answers to their daily challenges in the band hall.

BAND NOTES IMPORTANT DATES September—Renew your TMEA membership and preregister for the 2015 convention.

September 1—Deadline to submit All-State etude errata to the Band Division Chair.

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

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

November 8–9—All-State Jazz judging.

December 31—TMEA convention mail/fax preregistration deadline.

January 10, 2015—Area Band and Vocal auditions.

January 22, 2015—TMEA convention online preregistration deadline.

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

Southwestern Musician | September 2014 17

nurtured me and helped me survive; it also started me on a track of professional and personal growth.

Now, what seems like a millennium later in band director years, I work with a talented, energetic staff, a supportive administration, teachable students, and a strong, appropriately engaged parent base.

I consider myself blessed to have had a variety of supportive colleagues who acted as mentors, either formally or informally, and who have had a positive and enduring

impact on my teaching and my life. Even so, I still find myself in need of those professional and personal relationships that guide, encourage, and instruct, still in need of someone to bridge the knowledge gaps and stimulate curiosity, still in need of mentorship.

Mentors should be role models for us as professional music educators. They should demonstrate attitudes and actions that reflect the character and integrity we all want the profession to embody. And

they should convey a sense of enthusiasm and optimism about the future of music education.

Seeking out and building a relationship between a mentor and a protégé takes significant time and energy. Each relationship is unique, and regardless of how formal or informal the relationship between you is, each party must care about the relationship, must be committed to their role, and must be invested in the success of one another. The relationship cannot

Congratulations, Honor Band Finalists & Winners Join TMEA in congratulating the directors and students of the following outstanding programs!

Class 5A Rank 1 2 3 4 5 6 7 8 9 10 11 12 13 14

School/ISD ........................................................ Directors Marcus HS/Lewisville ........................ Amanda Drinkwater Coppell HS/Coppell ......................................... Scott Mason Claudia Taylor Johnson HS/North East ......Jarrett Lipman, Alan Sharps Flower Mound HS/Lewisville........................ Brent Biskup, Jana Harvey Berkner HS/Richardson ...................................Frank Troyka Lopez HS/Brownsville .................................George Trevino Clements HS/Fort Bend ............................ Daniel Galloway Reagan HS/North East ...................................... Levi Chavis Duncanville HS/Duncanville ............................ Jeffrey King Richland HS/Birdville .......................................... Jason Bird Clear Lake HS/Clear Creek ............................... John Pearce Coronado HS/El Paso ....................................... Mark Saenz McKinney Boyd HS/McKinney ......................... Joe Nunez Seven Lakes HS/Katy .................................. Damon Archer

Class 3A Rank 1 2 3 4 5 6 7 8 9 10 11 12 13 14

School/ISD ........................................................ Directors Robinson HS/Robinson ...................................Robert Vetter Argyle HS/Argyle.......................................... Kathy Johnson North Lamar HS/North Lamar ....................... Randy Jones Cleveland HS/Cleveland ...................................Kristy Jones Port Isabel HS/Point Isabel ..........................Scott Hartsfield Kennedale HS/Kennedale ....................................Erol Oktay Lone Star HS/Frisco .................................. Timothy Golden Big Spring HS/Big Spring ...............................Rocky Harris H.M. King HS/Kingsville ........................... Rolando Molina Henderson HS/Henderson............................Tommy Moore Boerne HS/Boerne....................................... Franklin Foster Bridge City HS/Bridge City ..........................Russell Tipton La Vernia HS/La Vernia ..................................... Stacy Clark Bellville HS/Bellville ......................................John Pritchett

18 Southwestern Musician | September 2014

Class 1A Rank 1 2 3 4 5 6 7 8 9 10 11

School/ISD .......................................................Directors Honey Grove HS/Honey Grove ...................Dennis Syring Shelbyville HS/Shelbyville..........................Shaka Hawkins Italy HS/Italy ..................................................... Jesus Perez Somerville HS/Somerville .............................. Carl Idlebird Forsan HS/Forsan ............................................. Jim Rhodes Valley Mills HS/Valley Mills ........................... Jon Schriver Timpson HS/Timpson .................................. Rhonda Cates Panhandle ISD/Panhandle ........................ Kyle McDonald New Deal HS/New Deal ............................... James Nance Harper HS/Harper ..................................... Charles Sander Knox City HS/Knox City-O’Brien ................ Mark Tucker

Class 1C Rank 1 2 3 4 5 6 7 8 9 10 11

School/ISD .......................................................Directors Shallowater MS/Shallowater............. Tammy Summersgill Travis MS/Dallas.......................................Randy McCann Jourdanton JH/Jourdanton..................Babatunde Onibudo Littlefield JH/Littlefield ................................... Anna Muela Sabine MS/Sabine......................................Ronnie Godfrey Sonora MS/Sonora........................................ David Andrus Howe MS/Howe ........................................ Michael Marsh Brewster School/Edinburg .................................Luis Reyes Mathis MS/Mathis .................................... Miguel Cabrera Randolph MS/Randolph Field ..............Stephen Giovanoni Reagan County MS/Reagan County ............... Christopher Cooper

Thanks go to the TMEA members who served as Honor Band Judges and Panel Chairs for ensuring a successful process. To view these and previous years’ results online, go to: www.tmea.org/honorbandhistory

Music is your passion TCU is your school SCHOLARSHIP OPPORTUNITES AVAILABLE FOR YOU At TCU, you can receive both music and academic scholarships that make attendance more affordable.

NORDAN SCHOLARSHIP The NORDAN Scholarship is an exclusive award, open to entering freshmen vocalists, instrumentalists, and composers of superior talent, who have chosen to major in music. NORDAN winners receive a four-year, FULL TUITION AWARD. NORDAN Live Auditions are held on January 17, 2015 by special invitation. More information is available at www.music.tcu.edu/nordan-request.asp TCU EARLY APPLICATION/DECISION PROGRAM If you are interested in an earlier admission response we strongly encourage you to complete all application procedures before the TCU Early Action deadline of November 1, 2014. TCU Early Action provides application review and nonbinding University notiďŹ cation

by January 1, 2015, while allowing you to decide by May 1, 2015 (National Candidate Reply Date) to attend TCU. AUDITION DATES FOR SPRING 2015 January 31, 2015, February 21, 2015, and February 28, 2015 GRADUATE PROGRAMS AVAILABLE FOR YOU TCU offers Master of Music and Doctor of Musical Arts degrees in different disciplines. Graduate Assistantships are available.

For more information on undergraduate and graduate admission requirements and application deadlines, please visit our website or call the School of Music at 817-257-7341.

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Conducting & Ensembles

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

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

Bruce Cain Kenny Sheppard Nicholas Simpson Agnes Vojtko Dana Zenobi

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

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

be limited to just copy-room chatter or a brief post-rehearsal wrap-up on the way to the car at the end of the day. While such dialogue is helpful, conversations should be purposeful and ongoing, with the goal of helping the protégé learn and succeed at the center.

A mentor is a good listener, is compassionate, and is open-minded in their approach to problems. A mentor should be attentive to our situation and understanding of the sources of our frustration in the music classroom. Mentors should be accepting of teachers new to the profession and aware of individual differences. As educators we are expected to adjust our instruction and communications to meet individual student needs.

Correspondingly, we should expect a mentor to adjust to meet the needs of the protégé.

A mentor should provide support through observation, constructive feedback, and a willingness to share rehearsal strategies. Team planning and team teaching help us refine our design, goals, and instructional presentation. And sincere critique promotes ongoing discussions that sharpen both our communication skills from the podium and our ability to evaluate student performance.

Finally, a good mentor is a lifelong learner. Good mentors are candid about their personal search for more effective solutions and better answers to their daily challenges in the band hall. They model this commitment by their willingness to share and learn from their network of colleagues and by their pursuit of professional growth opportunities. They participate in workshops, attend professional rehearsals and performances, study pertinent journal articles, and experiment with and develop new instructional techniques.

They in fact become protégés all over again as they seek to broaden their own personal skill set. And then they complete the circle by sharing that knowledge with a new generation of teachers. Be sure to

read the story on page 43 where protégés in the TMEA Mentoring Network share their experiences and insights, and look in next month’s issue for the second part featuring their mentors’ perspectives.

Honor Band Congratulations go to the students and directors of the TMEA Honor Bands and finalists in Class 1C, 1A, 3A, and 5A listed on page 18. We look forward to Honor Band performances during our 2015 convention.

2015 Clinic/Convention Updates While it might seem early, it’s already time to start thinking about attending the 2015 TMEA Clinic/Convention. On October 1, at 6 A.M. Central Time, the TMEA convention housing for members will be available online. Don’t wait to make your reservations, as some hotels sell out in a matter of hours! When you make your reservation, keep in mind two exciting opportunities happening on Wednesday. The TI:ME Music Technology Preconference will present over 30 clinics solely focused on technology solutions for music educators. Also on Wednesday night will be the always popular President’s Concert, this year featuring the Swingle Singers.

We are so fortunate and honored to have one of the consummate conductors/ educators/mentors of the music profession as our Band Division Featured Clinician for our 2015 convention. H. Robert Reynolds will share his wisdom on the past, present, and future of music education and his thoughts on the whys and hows of our craft.

H. Robert Reynolds Band Division Featured Clinician H. Robert Reynolds is the principal conductor of the Wind Ensemble at the Thornton School of Music at the University of Southern California, where he holds the H. Robert Reynolds

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Professorship in Wind Conducting.

This appointment followed his retirement from the University of Michigan, where he served as Director of University Bands and Director of the Division of Instrumental Studies. In addition, for over 30 years, he has served as the conductor of the Detroit Chamber Winds and Strings.

Reynolds was awarded an honorary doctorate from Duquesne University and holds degrees in music education and performance from the University of Michigan, where he was the conducting student of Elizabeth Green. He began his career in the public schools of Michigan and California before beginning his university conducting at California State University at Long Beach and the University of Wisconsin prior to his tenure at the University of Michigan.

Reynolds has received the College Band Directors National Association Lifetime Achievement Award and is Past-President of CBDNA and the Big Ten Band Directors Association. He has received the highest national awards from Phi Mu Alpha, Kappa Kappa Psi, Phi Beta Mu, the National Band Association, and the American School Band Directors Association, and he was awarded the Medal of Honor by the International Midwest Band and Orchestra Clinic.

His frequent conducting appearances have included the Eastman School of Music, New England Conservatory, Oberlin Conservatory, Northwestern University, Manhattan School of Music, the Tanglewood Institute, and the Detroit Symphony Orchestra.

Next month we will preview our AllState conductors, so be sure to read that issue to learn more about these great clinicians who will be working with our AllState students.

Southwestern Musician | September 2014 21

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Tailoring Rhythm Instruction y

by le Ga a h rwood W

R

hythm is the primary musical element found in all music from all historical periods. It is also the most problematic. Why then is rhythm so often neglected as a daily component of band and orchestra rehearsals?

Totally neglected? Of course not, but it is usually addressed only when problems occur and, even then, not as a regular part of rehearsal strategies.

As a young teacher, I was guilty of the most elementary mistake an educator can make—assuming prior knowledge on the part of the students. Wanting to treat students with respect is a good thing, but giving them the benefit of the doubt with regard to their prior knowledge can be a bad thing. I assumed students came to me prepared with rhythmic understanding. I quickly learned that this was not the case. When rhythm problems occurred during rehearsals, I worked hard to correct the problem, teaching rhythms by any possible means.

While often successful in correcting the problem at hand, I was forced to teach rhythms by rote, presenting a quick fix, BandAid approach that did nothing for long-term learning. I discovered that although students were able to master the immediate rhythmic problem, there was no transfer to other music with the same or similar rhythms. After experiencing this frustrating problem for some time, I realized that the problem, like most other problems, was not going to disappear on its own. I knew that if I really wanted to develop students’ rhythmic proficiency, I would have to include this important musical skill as a regular part of every rehearsal.

Finding the Solution The period of trial and error began. Not having a clear vision of how to deal with the problem, I tried a variety of approaches. I

utilized books on learning rhythms through scale study or teaching rhythms through playing melodies. I tried teaching rhythms by rote, giving rhythmic dictation and various other attempts at dealing with this fundamental challenge. Unfortunately, nothing seemed to effectively solve the dilemma. The methods I chose were either diluted by additional skill requirements like fingering and articulation or required too much rehearsal time. I knew that I was on the right track, yet the complete solution was still elusive.

One afternoon, while helping a student with a tricky passage, I wrote a short rhythmic example to help clarify a problem. The student immediately saw the relationship of my example to the actual part and the problem was solved, mostly by the student’s ability to relate one rhythm to the other. Had I discovered the answer to my impasse? The light bulb in my mind flashed on, and I wrote a short rhythmic exercise based on a piece we were rehearsing. The next morning I passed out the exercise and began our rehearsal by having all students clap and count the rhythm.

Although a departure from our regular rehearsal routine, the exercise worked, and students seemed amused by their quick ability to clap and count the rhythm together with relative ease. The next step was to apply this newfound ability while playing their instruments. We transferred the rhythm by playing it on a unison pitch—this also worked with relative ease.

From there, I decided to review the scores we were preparing and to select appropriate rhythms for the development of similar rhythm exercises. During the preparation before our next concert, I continued this approach by having students count out loud while clapping the rhythms I selected from the repertoire. After each clapping exercise, the rhythms were played on a unison pitch while counting silently.

The process worked, and students encountered fewer rhythm Southwestern Musician | September 2014 23

This method, now used to begin daily rehearsals, serves as an always changing, never boring, ensemble-building experience. take students from the most elementary rhythms to those found in the difficult works of Stravinsky and others. I wrote 47 pages of rhythmic exercises and divided them into nine units that include, for example, dotted rhythms, triplets, syncopation, and mixed meters—virtually any combination of rhythms that students would be exposed to in today’s band, orchestra, or solo literature.

That next school year brought a revelation. We included these new drills at the beginning of each rehearsal. Although we used less than five minutes of each rehearsal, the improvement was both immediate and remarkable. Individual and ensemble reading skills improved dramatically. Sightreading, both in school and during auditions for outside groups, was markedly improved. By the end of the first semester, we had completed all 47 pages of exercises, and rhythmic problems

problems in the literature we were preparing. I thought I had found the solution to my frustrating dilemma. Before rehearsals began for our next concert, I reviewed each score to extract the rhythms I thought would be problematic and, using these rhythms, prepared exercises for each rehearsal. We began each rehearsal with rhythm studies, again without instruments, so that the emphasis was on pure rhythm without focusing on tone production, intonation, or articulation. Although the exercises improved our immediate rhythmic ability, I realized that my solution dealt only with the music being prepared. It didn’t provide students with a long-term, comprehensive approach to decoding rhythms on their own.

Digging Deeper I devoted the next summer to writing a series of rhythm exercises that would

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had all but disappeared. Thanks to their ability to recognize rhythms with the help of rhythmic syllablization, students were able to transfer their newfound skills from piece to piece.

Assessing Proficiency To make sure that all students achieved the same degree of rhythmic fluency, a method of assessment was necessary. At the conclusion of each of the nine units, I asked students to demonstrate their mastery by clapping and counting an exercise at the beginning of a designated rehearsal period. Students either passed or did not.

Those who did not pass were required to meet with me for extra help until the student and I were satisfied with their level of proficiency. Interestingly, students requiring extra help often became rhythmically stronger than those who initially passed.

As students became more comfortable with the system, playing on a unison pitch after mastering the rhythm evolved into playing on various scale degrees and chord tones and utilizing a variety of articulations and dynamics. Thus, we were able to combine rhythm training with ear training and technical skill development. This method, now used to begin daily rehearsals, serves as an always changing, never boring, ensemble-building experience.

It combines the focus of rhythmic skill development with ear training and individual technical development.

As you prepare for another successful year and plan how to introduce new concepts and repertoire to your developing musicians, consider how you could incorporate rhythm study in your daily routine.

Create your own tailored exercises or look for existing material. However you accomplish it, I am reassured that this approach provides students with concepts and skills that will take them far beyond their school years. Their ability to problem-solve and perform independently throughout their adult lives fulfills the true goal of school music education.

Garwood Whaley is conductor emeritus of the Bishop Ireton Symphonic Wind Ensemble in Alexandria, Virginia, former adjunct professor of music at The Catholic University of America and is president and founder of Meredith Music Publications. Among many other publications, he is the author of Basics in Rhythm.

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Vista Ridge High School Band

Clements High School Orchestra

Baylor University

Indian Springs Middle School Band

Clements High School Orchestra

Information on undergraduate and graduate programs, graduate teaching assistantships, online and on-campus graduate programs

www.music.sfasu.edu

936.468.4602

ORCHESTRA NOTES IMPORTANT DATES September—Renew your TMEA membership and preregister for the 2015 convention.

September 1—Deadline to submit All-State etude errata to the State Orchestra Chair.

September 15—HS String Honor Orchestra online entries due.

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

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

October 18–19—HS String Honor Orchestra judging.

October 25—Area recording date.

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

December 31—TMEA convention mail/fax preregistration deadline.

January 22, 2015—TMEA convention online preregistration deadline.

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

26 Southwestern Musician | September 2014

High frequency speech B Y

C R A I G

N E E D H A M

M

y wife, Susan, is a kindergarten teacher at Dartmouth Elementary in Richardson, and she uses poems, such as this one she wrote about our dog, to illustrate high-frequency words for

her students: Her Name Is Sophie Her ears are long, and her hair is furry Her nose sometimes seems like it’s in a hurry.

Her little tongue wags when she gets really hot.

She seems very happy, quite a lot.

Her name is Sophie and she likes to jog.

She’s a dachshund, yes, my awesome dog!

The high-frequency word in this poem is her. While the use of these poems is clever and fun, they are mostly used to introduce and add context to these words. The students really don’t learn these words until they delve into the application of using them. Reading, writing, and speaking high-frequency words in a proper context by far yields the best results. Using these words and applying them is much more productive to the learner than listening to someone speak about them.

This hits a critical issue for us as conductors. How much time do our students spend playing versus listening to us talk? Are we focused on the poetry of our words or are our students spending more time on the application of the music?

I believe that knowing when and how much to speak from the podium is a skill that takes years to develop. Some have a better instinct than others, but I always find this to be an area of growth for improving our skills in the classroom.

Virtually every aspect of rehearsal can be improved by evaluating the frequency of our speech. Students will tell us they just want to play. As adults, don’t we feel the same when we are performing on our instrument in an ensemble?

I’ve played in a couple of groups where I knew there would be much wasted

A conductor should have a reason for stopping an ensemble and should be able to articulate the UHDVRQ HIÀFLHQWO\

Texas Lutheran University School of Music

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

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

SCHOOL OF MUSIC DEPARTMENT HEADS

SCHOLARSHIP AUDITION DATES:

Beth Bronk Director of Bands bbronk@tlu.edu

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

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

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

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

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

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

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

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

time during rehearsals with long speeches and stories from the podium and other inefficient uses of time. I didnâ&#x20AC;&#x2122;t really enjoy these rehearsals, but I continued to participate because I enjoyed the performances. Do your students say the same

thing about your rehearsals? Many times, the flow of a musical idea can be interrupted by our incessant talking about the idea. Students forced to do more listening than playing become bored and begin to act up.

Application Deadline: December 1

www.colorado.edu/music 28 Southwestern Musician | September 2014

So how do we know when to speak to our students during rehearsal? Having a purpose for each rehearsal can dictate the amount of speaking required. A nuts-andbolts rehearsal requires the conductor to reinforce a specific idea and expound upon a concept. Letting the students know up front what you want to accomplish that day and the type of rehearsal you want to have can set the expectation. If every rehearsal is filled with long speeches, you might create more problems than you are fixing. Frequency of stopping and starting an ensemble can also be dictated by the purpose of the rehearsal. Frequently stopping an ensemble can cause frustration on the part of the performers, but less so if the instruction given is meaningful and to a specific point. A conductor should have a reason for stopping an ensemble and should be able to articulate the reason efficiently. Dr. Clif Evans, orchestra conductor at the University of Texas in Arlington, speaks about an internal clock that starts ticking the moment he stops an ensemble to speak. If that clock ticks for too long, musicians will disengage from the rehearsal.

Successfully playing a string instrument

Honor Orchestra Finalists & Winners High School Full

Rank 1 2 3 4 5 6

School/ISD ........................................................................................ Directors Plano SH/Plano ...........................Brian Coatney, Jeremy Kondrat, Tara Cesario Martin HS/Arlington .......................................Michael Stringer, David Carbone Seven Lakes HS/Katy ......................................Desiree Overree, Damon Archer Westwood HS/Round Rock .......................................Susan Williams, Jack Green Clear Lake HS/Clear Creek .....................................Bryan Buffaloe, Kevin Black Johnson HS/North East................................................................... Karen George

Rank 1 2 3 4 5

School/ISD ........................................................................................ Directors Faubion MS/McKinney ................................................ Kari Zamora, Brian Beck Rice MS/Plano ............................................................Barbara Fox, Jason Tucker Doerre IS/Klein ............................................................ Dawn Multop, Matt Fehl Sartartia MS/Fort Bend ....................................................Ann Victor, Julie Amos Curtis MS/Allen ....................................................... Amanda Su, Linda Orrantia

Rank 1 2 3 4 5 6

School/ISD ........................................................................................ Directors McMeans JH/Katy......................................................................... Amy Williams Sartartia MS/Fort Bend ........................................................................Ann Victor Kealing MS/Austin ............................................................................David Jarrott Canyon Vista MS/Round Rock ............................................... Elizabeth Frederick Rice MS/Plano ................................................................................... Barbara Fox Beckendorff JH/Katy ............................................................................Karel Butz

â&#x20AC;˘ Philharmonic Orchestra: Carnival Overture 'YRUĂĄiN Pines of Rome, Respighi â&#x20AC;˘ Symphony Orchestra: Don Juan, Strauss; Suite from Swan Lake, Tchaikovsky

Middle School/Junior High Full

Middle School/Junior High String

The High School String Honor Orchestra finalists and winners will be included in the January issue.

requires repetition of proper fundamentals.

The lower the skill level, the more exact repetition is required to achieve consistent results. This means speaking even less to younger players to afford them more opportunity to develop muscle memory and cognitive connections through playing. Explaining for five minutes and rehearsing for two will not yield consistent results. Knowing your audience will also help you tailor your instruction and communication.

As you prepare for this new school year, make it a goal to increase your efficiency of communication with your orchestras.

Spend more time doing and less time talking about it. You can get more accomplished than you ever thought possible, and the students will have a more fulfilling experience under your baton. The goal should be less high-frequency speech and more high-frequency playing!

Honor Orchestras Congratulations go to the students and directors of our Honor Orchestras and 30 Southwestern Musician | September 2014

finalists. More information about them will be included in our November issue and our HS String Honor Orchestra will be featured in the January issue.

2015 Clinic/Convention Update On October 1, be prepared to secure your housing reservation open from www.tmea.org/convention.

This month, Iâ&#x20AC;&#x2122;m pleased to present details of our All-State repertoire and our outstanding featured clinician.

All-State Orchestras The TMEA website is the official source for All-State errata, so check back for more updates. September 1 is the deadline for errata submissions. The literature for the All-State groups is as follows: â&#x20AC;˘ String Orchestra: Adagio and Fugue in C minor, K. 546, Mozart arr.

Loewenheim; Tango Tsigane â&#x20AC;&#x153;Jalousie,â&#x20AC;?

Jacob Gade; String Quartet No. 1 in G minor, Op. 27, Grieg arr. Loewenheim

Robert Gillespie Featured Clinician Robert Gillespie, violinist and professor of music, is responsible for string teacher training at the Ohio State University, which has one of the largest and most extensive string pedagogy degree programs in the nation. Gillespie is a national PastPresident of the American String Teachers Association. He is a frequent guest conductor of festival, region, and all-state orchestras. Gillespie has appeared in 47 states and Canada and throughout Europe.

He is coauthor of the Hal Leonard string method book series Essential Elements for Strings. He is also coauthor of the college text Strategies for Teaching Strings: Building a Successful School Orchestra Program, the String Clinics to Go DVD series, and the Teaching Music Through Performance in Orchestra texts

by GIA publications. He received the Ohio State University School of Music Distinguished Scholar Award for 2002â&#x20AC;&#x201C; 2003. In summers, Gillespie directs the OSU string teacher workshop and the offcampus string teacher workshop, the largest string/orchestra teacher training workshop in the country. Additionally, Gillespie is a string education teaching artist and clinician for the Conn-Selmer Corporation.

In Columbus, he conducts the Columbus Symphony Chamber Strings Orchestra and is a performing violinist in the Pro Musica Chamber Orchestra.

$1,000 Grants Available to Middle School Music Programs

T

Apply by October 15 to be eligible | www.tmea.org/msgrant

he TMEA Executive Board has created a grant program to support middle school music programs throughout the state. The Board approved $500,000 in funding for this grant and has directed the TMEA staff to administer the program this fall to allow middle school band, orchestra, and choir teachers (grades 6–8) to purchase sheet music for use during this school year. Go to www.tmea.org/msgrant to learn more about the selection criteria and, as of September 15, to apply.

To apply, middle school music teachers must be active TMEA members (go to www.tmea.org/membership to renew). Apply online September 15–October 15. You must provide an exact list of the music you intend to purchase, the supplier, and the cost. You must have a written quote from the supplier. Suppliers must be TMEA Sustaining Members (listed at www.tmea.org/ industry/directory). Grants will be approved based on existing overall budget, sheet music budget, number of students served,

and other criteria as called for in the online application. Once a grant is approved, and music is ordered and shipped, TMEA will pay the supplier directly.

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

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

Southwestern Musician | September 2014 31

BREAK THE HABIT NOT THE KID

by Mary Havenstrite & Deborah Perkins

M

ary planned to change the world one child’s heart at a time. Deb wanted to get string instruments into the hands of as many kids as possible. In the beginning, neither of us had much of a process, so we each simply found our own way. Every day felt like a game! After a while, something changed. As we discovered how we thought we were supposed to run a classroom, we became self-conscious about our instincts and questioned our expertise. Some of the joy and spontaneity was lost. Mary began to prioritize perfection over expression, to focus more on outcome than on enjoying the process. Deb thought more about how to recruit and retain students than nurturing the ones she had. Who were we kidding? Mary had never achieved perfection before, so she was just frustrating herself and blaming it on her students. Deb was like the old woman in the shoe and had so many children, she didn’t know what to do.

We had become professionally stale. This staleness wasn’t exactly burnout, but more like disillusionment. It was time for a paradigm shift—time to break the habit!

Your habits establish the mood of your classroom. They are reflected in the behaviors of your students. The world you create can be the source of your happiness or the cause of your insanity. Be intentional. Bad habits can kill the magic, but with a little planning, you can reclaim your joy and enhance the learning experience for you and your students.

Your Mindset It’s truth time. What are your bad habits? Here are some of ours: trying to squeeze 10 minutes into every 5, nagging students to get settled even though we are not settled ourselves, checking email between classes and yelling commands from behind our computers. There are many more, but these make the point. Here are some simple steps to break any bad habit: • Acknowledge it.

• Define your triggers.

32 Southwestern Musician | September 2014

• Replace it (don’t try to eliminate it).

• Visualize success—long-term success comes with setbacks, so be patient with yourself.

Acknowledging your habits and defining triggers are key steps in producing sustainable change. The problems you see in your students are most likely caused by you. Your bad habits, and consequently theirs, can be avoided with a little bit of forethought and planning.

What triggers can you predict? Students probably won’t practice enough. They will lose their music. They will forget essential equipment like shoulder rests, rock stops, and pencils. Students will be randomly pulled out of your class. Testing days will creep up on you. Plan ahead. Choose music that can be taught within the limitations of your actual schedule. Have an abundance of extra supplies so that forgetful students do not derail your rehearsals.

Create an environment that is comfortable for you—one that nurtures your students. Good teachers tend to be good students themselves. We instinctively copy successful methods of our colleagues, but not all of their procedures work for our personality.

What do you really want to do? Replicate the pedagogy of great teachers, but make the process your own. Teach from your heart.

Find your comfort zone.

When you are comfortable, you can be patient, flexible, and purposeful. Instead of teaching through adrenaline in “fear gear,” be thoughtful in your instructions and allow students time to respond. Give yourself and your students this time to fully engage. Don’t be in such a hurry. Deliberate teaching is efficient and productive. When you get frustrated and let anger get the best of you, your students will not learn faster. They will shut down. Remember that they signed up for orchestra, so it’s clear that they want to be there; they want to be great. Love every part of their journey, and strive to make every part of their journey worthwhile.

All students, whatever their level, require sequence and repetition to master new skills. These two aspects of the developmental

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process are essential and cannot be skipped. When you try to bypass these steps, you will discourage your students and exasperate yourself. You will use more energy and accomplish less.

Every child is on a trajectory for greatness, so take them from where they are.

You must have a vision for your students, but never forget that the final product is only a destination. Your students must get from where they are to where they will be one step at a time. Don’t let your inspiration become your nemesis by trying to circumvent this process. A methodical and persistent approach will lead your students to greatness.

Remember that familiar concepts for you are brand-new for your students. This may seem obvious, but it’s good to keep in mind that what you have repeated one hundred times, they have heard only once.

Repetition is required to establish lasting understanding or develop new skills.

Don’t fight it. Rethink it. Repetition also means sequence, cycle, restatement, retelling, reproduction, or renewal. Embrace this crucial part of the teaching process.

Skills cannot be taught in a vacuum.

They must be linked to a purpose. Let’s

face it: your students may not believe that repetition and sequence are as necessary as you do. You might have even heard the complaints “I’m bored” or “this is too easy.” It’s your job to persuade your students to engage in this process with you.

Use your best tool—music! Give students a reason to apply their knowledge and techniques. Shift your thinking. Don’t wait for mastery to perform; use performance to develop mastery. Remember that your students want to be great, so give them the opportunity.

Pedagogy Set the stage. Create an environment in your classroom that engages students. The environment should be flexible so that you can capitalize on teachable moments as they come. Start with the physical space.

Angle the chairs and stands toward the podium to create a direct line of communication between you and your students.

Provide enough space for each student to move freely and for you to access all areas of the classroom.

Consider the intangible aspects of your classroom and their effect on this open space for learning. Your demeanor, the

level of formality you expect from your students, and your willingness to give them a voice create the setting for all of the teaching that will come. Create an atmosphere in which you are comfortable and invite your students in.

Start your students off purposefully. Their beginning postures should be taught in the image of a professional player. Develop a process for setting up your beginners that is sequential and consistent. Committing to this progression teaches a repeatable process that will promote relaxed, strong, and flexible left hands and bow hands.

To sustain this development, you must engage your students. Students who are invested will not be bored. Most students are naturally enthusiastic about learning vibrato, harmonics, and shifting. Use their interest to motivate them. Vibrato and harmonics promote relaxed and lifted left-hand positions. Harmonics also get students moving around the fingerboard and lead to fearless shifting.

You can use the same approach to foster relaxed and functional bow hands.

Students want to sound good. That might sound simplistic, but it is the essence

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34 Southwestern Musician | September 2014

of what music is about. Make sure they hear beautiful playing often. They will be eager to learn how to imitate what they have heard. Exploit their eagerness and introduce basic collé exercises early. They will be able to do collé in the first few months (if not weeks) of playing because they have no fear. This finger flexibility will eliminate locked bow hands and leads to effortless legato, detaché, and even spiccato bow strokes. Use these authentic bow styles in their music to reinforce good sound production.

Rehearsal Techniques If students are not responding to your instructions, say them differently—not louder. For example, instead of “sit up straight,” you might say, “make yourself taller,” “put space between your ribs and your belly,” or “sit like you are standing.” Maybe you shouldn’t say anything at all. Change your process to get a different result. If your violinists and violas are sinking before your eyes, have them set their instruments on their shoulder from above. This simple trick of stretching their body upward will eliminate their tendency to slump altogether.

Do sweat the small stuff. Use details to teach critical listening skills. Have students focus on a specific aspect of the music they are playing, and they will naturally tend to correct other related musical elements. For example, clean up intonation by focusing on ensemble balance or fix balance by highlighting dynamics.

Lead your students toward self-correction.

You can also promote ensemble consistency by cross-training your group. Use repetition without overworking them by focusing on more than one difficult passage at a time. Play each passage only once and then move quickly on to the next.

Create a cycle and repeat it as many times as necessary until students are able to play each passage accurately. In this way, students are getting their necessary repeats, but still practicing playing each passage cold.

Opposites attract. Use reverse psychology. Are your students slouching? Have them stand (this is not a punishment). Are your students having trouble playing a passage fast enough? Play it even faster and then the real tempo will be a breeze.

Are their releases a mess? Have them focus on the beginnings of rests. Are your

students punching their bow changes?

Have them use less bow so they have a little extra cushion at the tip and frog for a smoother sound.

Don’t fear the worst in your students; believe in the best and do everything you can to set them up for success. Develop a personal rehearsal style that gets the job done without wearing everybody out. Play more. Stop less. Students will self-correct if given the opportunity. If you must stop, wait for a cadence and be sure you have something significant to say (three things at a minimum). Repeat awesomeness! Fix it, and then repeat it. Through this process, repetition becomes encouragement, not criticism.

Above all, remember to be patient and encouraging; see each student through their mother’s eyes. Have a vision for yourself and your students, imagine the possibilities, and create the world you want to live in.

Mary Havenstrite is the Orchestra Director at Robinson MS in Plano ISD and Deborah Perkins is Adjunct Assistant Professor of Music Education at Southern Methodist University.

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Solfège: A singer’s friend and foe!

B Y

D I N A H

M E N G E R

T

exas vocal music education and solfège go together like barbecue and baked beans. I am a devotee, as are most Texas vocal music instructors. I have witnessed the consistency in its ability to solve all sorts of pitch, interval, and harmonic challenges. Students garner an instant sense of ownership when they apply it to their own music-making. When my junior high and high school students received their octavos, they took great pleasure in labeling their vocal line. Guido of Arezzo would have been so pleased!

In preparing a choral score for thorough introduction, teaching, and performing, the first step I take is to write in the solfège for all vocal parts. As I do this, I learn each vocal line, discovering areas of challenge for the singers, mapping out the harmonic direction of the piece, and finding the important motivic material. This was the drill for me and probably the drill for most of us who teach or have taught choral music to any age level. Solfège is solid and our students have been raised on it. They understand it and it makes sense, right?

The answer is, of course, a resounding yes! But do we rely on it so heavily that it actually slows down our singers’ sightreading ability? Are we teaching our students to solfège or are we teaching them to sightread? Are we making the connection between the two? I have been pondering this for quite some time and will explain my quandary in the following scenario: Upon finding a gorgeous, affirming octavo with lyrics that will change lives, we began the typical process with solfège, learning the melodic/harmonic material. But when transferring to the text, my choristers could not sing the

VOCAL NOTES IMPORTANT DATES September—Renew your TMEA membership and preregister for the 2015 convention.

September 1—Deadline to submit All-State etude errata to the State Vocal Chair.

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

December 31—TMEA convention mail/fax preregistration deadline.

January 10, 2015—Area auditions.

January 22, 2015—TMEA convention online preregistration deadline.

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

Find that happy balance and work to prepare your students for a lifetime of sight singing—not solfèging!

Southwestern Musician | September 2014 37

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notes just learned—it was as if they were looking at the song for the first time. What was the issue? This happened time and time again. Was it the new language— the actual text—that slowed them? Even when transferring to a neutral syllable they would struggle. It was as if they could not translate what they had learned in solfège to the language of the text. There seemed to be no bridge between the two. I would have to reteach the same notes and how they related to the new textual language.

Did I keep them on solfège too long?

Another scenario I often witness is a student in a sightreading audition.

Presented with a melodic line, they become so focused on using the solfège syllables correctly, they cannot sightread!

Would their sightreading attempts be more successful if they simply used a neutral syllable, using solfège instead to sort out the difficult passages?

After high school, students who continue singing experience a different approach in choral rehearsals. College students are given their scores and start on the text right away. Community choruses do not use solfège. Churches do not wait for everyone in the congregation to

sort out their parts on solfège before singing hymns. Is there a happy medium? Are we preparing our students for the outside world of singing? How would our students perform if asked to sing the UIL sightreading octavo on text (like the old days)?

There is no question that solfège works as a means to baptize our young singers in the ways of intervallic identity and relationships. There is no question that, with advanced singers, using solfège independently to sort out and solidify difficult passages is a quick and sure-fire remedy for consistent and precise music-making.

Can we moderate and temper the use of solfège in the learning of new music? I believe we can and must.

Here are some suggestions for transitioning our students (especially more advanced ones and those who wish to pursue some form of music after leaving us) from the solid basics of solfège to interval identity and its correlation with sung text.

Spend time in each rehearsal simply reading through scores, chorales, hymn tunes, sightreading octavos, and more.

Use a neutral syllable or, if feeling adven-

turous, the provided text. Allow your students study time (they will most likely use their solfège method) to audiate and prepare. Then sing the piece without solfège. As they get more adept at deciphering their own melodic content, make the study time shorter, if you have it at all.

That is sightreading—singing at sight!

When learning a new choral piece, sing on solfège (or your preferred method) first. Then divide the class so that half of the students sing on solfège as the other half uses a neutral vowel; then switch.

Add the next element—the actual text, sung along with either the solfège or the neutral syllable or sing a combination of all three at the same time. This is a great suggestion from my colleague and friend Jeff Rice at Midway HS. Before the initial solfège immersion, determine phrases and phrase direction, lifts, and breaths so that the habit of breath and phrase awareness happens from the very beginning. This will save you from having to break bad habits once you start dealing with text.

Take each phrase and sing it on solfège, then text, so that your students begin to make that visceral connection of

Texas Lutheran University School of Music

Youth Choir Festival For treble voices from grades 4–12 featuring Bob Chilcott,

PHOTO CREDIT: JOHN BELLARS

2015 Festival Conductor Saturday, January 24, 2015 9:00 a.m.– 5:00 p.m. | Jackson Auditorium For more information contact: Laurie Jenschke, festival director at ljenschke@tlu.edu or 830.456.3016.

SCHOOL OF MUSIC

To register online, go to www.tlu.edu/cma and click on the Youth Choir Festival link.

Southwestern Musician | September 2014 39

University of North Texas College of Music

University of North Texas Audition Dates Saturday, January 31, 2015 (Denton) Friday, February 6, 2015 (Denton) (Graduate Percussion, Piano, Voice, and String Auditions ONLY)

Saturday, February 7, 2015 (Denton) Saturday, February 28, 2015 (Denton)

music.unt.edu

intervallic space, word stress, etc. Waiting too late to begin working on a singer’s most important tool (the text) may seem like starting over when you don’t have that valuable time to do so.

Is solfège still the way to learn? Yes. That is evident in the quality of our music students. Is there a time and place for it?

Certainly. Find that happy balance and work to prepare your students for a lifetime of sight singing—not solfèging!

2015 Clinic/Convention Update Our 2015 convention is shaping up to be a truly mind-blowing experience. Part of that is because of our featured clinician, Ken Davis, whom many of you know and love. I know you will want to be in attendance at his clinics, listening to his wise words and gleaning valuable information from his years of success in the choral field. As you think about the convention, be sure to put October 1 on your calendar as the date TMEA member housing opens for reservations. Go to www.tmea.org/ convention for details and on that date to make a reservation. Some hotels sell out within a matter of hours, so don’t wait!

and doctoral students, in addition to serving as the head of the voice department for several years. He was then invited to join the faculty of the prestigious Honors College at Texas Tech University, where he created and taught courses in the humanities and fine arts and was appointed director of the humanities program for the university. His deep commitment to liberal arts education eventually led him to St. John’s College in Santa Fe, New Mexico, where he currently serves on the faculty.

Under his leadership the Texas Tech Choir appeared at the National

Convention of the ACDA, at Alice Tully Hall in Lincoln Center, and several times at the TMEA convention. The choir was also featured on the NBC Today Show in a special on William Warfield.

A native of Houston, Davis holds a bachelor’s degree in education, three master’s degrees: theology, music, and liberal studies, and a doctorate in conducting.

He studied privately with Roger Wagner, performed with the Atlanta Symphony Chorus, and sang with the Robert Shaw Festival Singers in France and Carnegie Hall.

Ken Davis Featured Clinician Over the past 30 years, Kenneth Davis has enjoyed a varied and multifaceted career as a college professor. After completing a doctoral degree in conducting at the Eastman School of Music, where he began his college teaching career, he was appointed as the director of choral activities at Western Kentucky University. From there he moved to Texas Tech University, where he served as director of choral activities, guiding the graduate program in choral conducting working with both master’s Southwestern Musician | September 2014 41

:H路UH H[FLWHG WR ZHOFRPH RXU QHZ IDFXOW\ and for another great season!

David Becker Professor of Orchestral Studies Professor Emeritus, University of Wisconsin-Madison Professor Emeritus, Lawrence University Conservatory of Music in Appleton, Wisconsin Bachelor of Music, Ithaca College Master of Music, University of Louisville Nationally in-demand conductor and clinician

Jacqueline Henninger Assistant Professor of Instrumental Music Education Fulbright Scholar Award Recipient 2112-2114 Bachelor of Music, University of Texas, Austin Master and PhD of Music Education, University of Texas, Austin Fulbright Guest lecturer and published researcher with Tumaini University Makumira, East Africa 2012-Present

Roger Landes Instructor Teaches History of Rock & Roll courses, face-to-face and online sections Bachelor of Arts, University of Missouri at Kansas City Master of Music in Musicology, Texas Tech University PhD in Fine Arts/Musicology (May 2015), Texas Tech University 2013 Helen DeVitt Jones Excellence in Graduate Teaching Award

Rebecca Wascoe Assistant Professor of Voice Graduate of the University of Texas at Arlington with a Bachelor of Music in Music Theatre Master of Music from the University of North Texas Doctor of Musical Arts in Vocal Performance & Literature from the University of Illinois Previous winner of the Gerda Lissner International Singing Competition Performance throughout the United States and Europe

music.ttu.edu

2014/15 Texas Tech School of Music Season The School of Music presents another exciting season, with special performances from the University Symphony Orchestra, operas, world premieres, and traditional favorites. For a complete list of events, visit music.ttu.edu.

2015 Audition Dates Auditions to apply to the Texas Tech School of Music begin in January. For a list of dates, visit music.ttu.edu.

h g i t S R upp e h t ort ti h n T hriv a C W ou e Y

by Karen Cross nsuring that music educators have the support they need not only to survive, but thrive, during the most challenging years of their careers, is the reason TMEA formed its Mentoring Network. The network pairs first-year teachers, those new to Texas, and teachers entering new roles with mentors who are committed to helping them succeed.

We recently asked four protégés and their mentors to offer their perspectives about their participation in this program. With so much information to present, this month’s installment will feature the questions and answers by the protégés, and next month will feature answers from their mentors.

Thanks go to the following protégés for taking the time to share their insights: Savannah Cervantez, Music Teacher, Crain ES, Victoria ISD; Cody Duff, Director of Choral Activities, O.L. Slaton MS, Lubbock ISD; Christina Marioneaux, Orchestra Director, Gentry JS, Goose Creek CISD; and Claire Trowbridge, Assistant Band Director, Kealing MS, Austin ISD.

E

What motivated you to join the Mentoring Network?

Savannah: I didn’t have a music teacher on my own campus, and that put me under a lot of pressure. I networked within my district, but to be a better teacher, I wanted as many resources at my disposal as possible to better my teaching and my school’s music program.

Cody: Even though I grew up in Texas, I knew things would be different from what I observed as a student. Although I student-taught in Texas, I was still left with many unanswered questions. The person who became my mentor was actually new

to our district as well and we were both going into some difficult situations. He heard of the program and thought it would be a great idea for us to participate, so we both registered.

Christina: To fill a last-minute need for an orchestra director, I came out of medical retirement from band directing to become the head orchestra director at Gentry JS. From the very beginning, I wanted Bud Woodruff as my mentor, knowing he had previously transitioned from band to orchestra. I was most concerned about having good string technique to teach the kids from day one, and I knew Bud would take the time to answer all of my many questions.

Claire: I have the upmost respect and admiration for TMEA and knew I could trust any program or help they offered. I was thrilled to hear about the mentoring program from the leaders of the New Teacher Academy at the 2013 TBA Convention and signed up right away.

What types of topics did you discuss with your mentor?

Savannah: We primarily discussed creation of grade-level performances, classroom management, and general personal support. During my student teaching, I got a lot of training in my teaching methods, but less in performances and newer, online teaching resources. My mentor helped me navigate much of that new territory.

Cody: I began with questions about how to register students for solo and ensemble and Region, where to order choir T-shirts, and how to increase enrollment. We also discussed repertoire selections and UIL preparations. He helped walk me through his Southwestern Musician | September 2014 43

process of selecting music, especially given my unfamiliarity with the students’ skill level. He guided me to select the most difficult music for the final concert and to work my way back to select music that increases in difficulty, including language, rhythms, pitches, and number of parts.

Christina: I discussed string basics with my mentor and I carefully watched his hands and posture when we discussed different concepts. After my first concert, he reviewed concepts such as bow hold, posture, small nuances in hand and wrist placement, including the left thumb, and musical keys to explore and gave me advice on how to advance sixth-grade students faster. He made sure to point out the good aspects of my teaching. Over the course of the year, I asked him to clinic my groups several times.

Claire: We focused on strategies for developing great beginner French horns and on classroom management. I am not a horn player, so it was incredibly helpful to ask my mentor, who is one, for help. She answered my questions via email and came to my school to observe and clinic one of my classes. The feedback I received from this visit alone made the mentoring network worth it.

What has the overall benefit been from having a mentor?

Savannah: My mentor was able to help me with all of my questions. I often asked for ideas for programs or repertoire, and she would either send something to me right away or get back to me within a few days and show me where to look. Some of my best program music came from her helpful suggestions.

Cody: I now have someone whom I can rely on to help me in any future teaching job. I have made a lifelong friend and learning partner. I feel very prepared for this upcoming school year, and if

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44 Southwestern Musician | September 2014

it weren’t for my mentor, I would still be trying to keep my head above water in this ocean of information that is required to be a successful Texas music educator.

Christina: Whether I’m the oldest, most experienced person in the room, or the new teacher, I love having mentors. I don’t think you can ever be too good or too smart to need help getting to the next level. And there is always a next level in music.

Claire: The best part about having a TMEA mentor was the personal attention that came from it. I have great coworkers at my school, but they are often, if not always, teaching classes while I am teaching. They are available for my questions, but having someone available to watch my class and assist was quite helpful.

Describe an area in which you asked your mentor for help: Savannah: I sought her guidance with programming. She gave me great lists of songs to perform and even helped me figure out a way to keep kids in line on risers. I would have never thought of using just a simple strip of blue tape to show students where to place their toes. My final concert of the year for kindergarten and first graders was great, and she helped me feel confident that it would go off without a hitch.

Cody: My main challenge was with sightreading and how to introduce it to my students. My mentor suggested a particular text that he uses, but he also covered how to create my own sightreading passages so that I could increase in difficulty little by little. Every issue he said I would encounter I did, but I was prepared and able to help my choirs get through them. It is because of his methods that two of my three choirs earned sweepstakes in sightreading this year.

Christina: Every student in my program needed a new bow hold last year. I was so scared to change things because I know how traumatic the change is. My mentor is very calm and gave me little bits of change to implement that would not threaten the kids or make them feel insecure. When he worked with my students, he not only reinforced my teaching, he was able to sneak in some much-needed change in a fun way. They loved seeing Mr. Woodruff walk through the door.

Claire: I mainly asked my mentor about developing good French horn sounds with sixth graders and asked for exercises and sequences to help get them there. She helped me by having me play my horn and instructing me on how to produce a better sound. She also gave my class a clinic on tongue shape, air speed, articulation placement, and more. After the class, she offered feedback on my students’ strengths and weaknesses and helped me develop a strategy for their improvement.

When would you suggest someone sign up for a mentor?

Savannah: Sign up as early as possible! There were so many things I should have started on long before the year began that I didn’t think of. If I’d signed up earlier, I know I would have been more prepared for my first day of school, and every day after.

Cody: Even if you don’t think you need a mentor until closer to preparation time for UIL contest, it is better to have that person already available to help you. I would also suggest that you try to find a mentor in your Region since each does their competitions a little differently. By having a mentor in your Region, your dates of festivals and other events will be the same, and they can help you plan accordingly.

46 Southwestern Musician | September 2014

Christina: Some people will never get a mentor because their ego will stand in the way, but we all need mentors, and sometimes we have to change mentors to grow and stretch as teachers. When I needed help becoming an orchestra director, I called the best person to help me with that specific task. Even though my first year is over, Bud Woodruff is still number one on my speed dial!

Claire: Start right away! You never know how helpful someone can be until you start asking questions. My mentor was great about catering to my needs. It’s clear that teachers of any experience level could benefit!

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

Savannah: Observe each other. We’re all busy teachers, but send video clips of your teaching to each other. Mentors can pinpoint how to better your teaching, and you can observe some master teaching—a true win-win.

Cody: Start early and try to form a friendship with your mentor.

Don’t use your mentor only when you need them. Seek advice as much as possible, and become learning partners together.

Christina: Listen! Don’t ask a hundred people, ask your mentor. Trust your mentor. Take your time and find someone who is right for you. Don’t be afraid to tell your mentor when it is time to move on if you feel like someone else will help you more.

Claire: Do not be afraid to ask questions. The mentors signed up because they want to help you!

For more information and to register with the Mentoring Network, go to www.tmea.org/mentor.

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Orff sequencing in the early grades B Y

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

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

December 31—TMEA convention mail/fax preregistration deadline.

January 22, 2015—TMEA convention online preregistration deadline.

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

C O L L E E N

R I D D L E

A

s September approaches, I often think of the words to a song I learned from Grace Nash that describes the month. “September, September and blue is the sky. The leaves turn bright colors and soon they will fly.” Nash, one of America’s most respected children’s music educators, used this song by Margaret Marquis in her music lessons, along with hundreds of others utilizing the Kodály, Orff-Schulwerk, and Dalcroze methods. Nash was well ahead of her time when she realized that combining the methodologies of Kodály, Orff, and Dalcroze was the most beneficial way for young children to learn about and experience music. When I first began my teaching career, I had the wonderful opportunity of attending elementary workshops led by Grace Nash in the 1980s at several TMEA conventions. Filled with songs, dances, games, movement, and Orff arrangements, Nash’s books were often found highlighted and bookmarked on my desk. I still refer to many of her publications when I plan workshops for music teachers.

In past months I have written about sequencing your Kodály and Dalcroze lessons. This month I’m offering a snapshot of suggestions for sequencing your lessons using the Orff-Schulwerk method, paying particular attention to instrumental skills. I take no credit for these ideas. They have been gathered and collected from certified Orff clinicians from all over the world. As you incorporate Orff instrumental skills in your lessons, remember to integrate Kodály literature and Dalcroze movement elements.

Kindergarten • Students should have many experiences with rhythm instruments, such as maracas, rhythm sticks, tambourines, claves, cowbells, triangles, small hand drums, shakers, wood blocks, bells, and ratchets. Students should be able to name these instruments and retrieve a specific instrument when asked.

• Tell a story or describe a poem using instruments as sound effects. Find a children’s book that can be told using instruments. Cora Bigwood, certified Orff clinician and past TMEA Elementary Vice-President, is a master of this art. She suggests using “John Had Great Big Waterproof Boots On” or “Ten in the Bed” for the early grades. After students have mastered the

Try out some of these suggestions gathered and FROOHFWHG IURP FHUWLÀHG 2UII FOLQLFLDQV IURP DOO over the world.

48 Southwestern Musician | September 2014

sound effects, tell the story using only instruments.

• Nursery rhymes are wonderful resources for using melody, rhythm, instruments, and movement. Randy DeLelles and Jeff Kriske have numerous publications incorporating nursery rhymes with Orff instruments.

• Practice steady beat with all pieces using body percussion by walking, clapping, patting, shaking, or tapping rhythm instruments to the beat.

• Alternate hands using body percussion and identify left and right.

First Grade • Build on skills and activities used above in kindergarten. Use similar literature adding sol, mi, and la songs.

• Introduce the xylophones by teach-

ing the names of each instrument.

Remind students frequently about the name of the xylophone that they are playing.

• As you review songs from kindergarten, introduce mallet and posture techniques. Sue Mueller, music education professor at the University of Nevada, hands students a mallet, one hand at a time. Mueller asks students to grasp the mallet as if they are shaking her hand. She repeats with the other hand. Having a mallet in each hand, students rotate their hands toward each other, fingers curved around the mallets while extending their elbows to form a V. The index finger should not be pointing outward from the hand.

• Before beginning to play xylophones, students should practice making a

bouncing motion on their laps or on the floor. Give the front row of students mallets to practice a light bouncing motion on the floor as the students behind them practice on their laps. Ask students to give the mallets to the person behind them and continue practicing the light bouncing motion.

• Juli Salzman, Region 17 Elementary Chair, tells her students to pretend they are touching a hot stove. Touch your mallets to the instruments in a similar fashion as if the bar is hot.

• To ensure excellent posture, students should sit on their knees behind smaller xylophones. If the room does not have carpet, place carpet squares behind the instruments for the students to kneel on (don’t allow them to sit cross-legged behind them). When

Southwestern Musician | September 2014 49

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students have the correct posture, the sound will exponentially improve.

• After students have demonstrated they know how to hold the mallets properly, sit on their knees, and bounce their mallets in the center of the bar, they are ready to perform.

• Jane Frazee, international Orff clinician, suggests beginning playing octaves to beats 1 and 3 with hands together. Remove adjacent bars to the octave notes students are playing to promote success. When removing xylophone bars, lift the bars off with both hands at the top and bottom of the bar to avoid damaging the pins.

2015 Clinic/Convention Update Make your plans now to attend our 2015 convention. The elementary clinic sessions will be power-packed with the latest music publications, successful teaching ideas, classroom management tips, and numerous instrumental, movement, and choral activities for early childhood grades through upper elementary.

Prepare to be motivated and inspired by our Elementary Featured Clinicians Deborah A. Imiolo and Rochelle Mann.

• I suggest that the teacher be positioned in front of their students with the teacher’s bass xylophone positioned in the same direction as the students’ (backward for the teacher).

This gives students a ready model in order to adjust their playing.

• Allow students to play the instruments for two to four phrases of the song. Then ask students to switch.

Students at the instruments rotate to the back of the line with the rest of the line moving forward.

• As students are rotating in line, sing another part of the song or chant a rhyme while students pat the beat and the front row students get in position.

• Students may play on different instruments but they need to play in unison with the teacher at this level.

• Don’t expect students to play the xylophones and sing at the same time.

This skill will develop in later grades.

• When students have mastered this skill, move to playing hands together in drones or fifths, again, playing on beats 1 and 3. A song in the key of F would use the notes F and C. Remove adjacent bars to encourage success.

• At this point begin asking students to alternate hands playing beat 1 with the left hand and beat 3 with the right.

• Continue using these steps using numerous songs in your first grade curriculum. An excellent guide is “The Orff Source” by Denise Gagne.

See my column next month for Orff sequencing in grades 2–3, and email me at criddle@aldine.k12.tx.us about sequencing steps that have worked for you.

52 Southwestern Musician | September 2014

Deborah A. Imiolo Featured Orff Clinician Deborah A. Imiolo has a bachelor’s degree in music education and applied percussion as well as the performer’s certificate from the Eastman School of Music.

She has a master of arts in music education with an Orff-Schulwerk concentration from the University of St. Thomas in St. Paul, Minnesota. Imiolo performed at Carnegie Hall with the American Legion Band of the Tonawandas Post 264. She is an educator, percussion performer, and composer. She is currently a contributing composer for Lorenz Corporation’s Activate! magazine, and she is a featured composer in “Ten to Teach Melody.”

Schott Music Corporation published Imiolo’s book The Animal Cracker Suite and Other Poems. Imiolo completed three levels of Orff training at Hamline University, Kodály Level I and Dalcroze Eurhythmics at the University of St. Thomas, and attended the University of Nevada in Las Vegas for another Orff level III. She has taught Orff Levels I and III in Houston and Orff Level I and Orff Curriculum at Buffalo State College and State University of New York in Plattsburgh. She has presented at several National AOSA

Conferences, the NYSSMA summer and winter conferences, and throughout the U.S. Imiolo also teaches at Heritage Heights Elementary School in the Sweet Home Central School District.

Rochelle Mann Featured Kodály Clinician Rochelle Mann, professor emerita at Fort Lewis College in Durango, Colo., has a record of outstanding service to the music education profession and is recognized for her artistry in flute performance. She was named a featured scholar at FLC, where she served as chair of the music department and dean of arts, humanities, and social sciences. She holds degrees from Indiana University and Arizona State University and continues to be a strong advocate for quality music education at all levels.

Mann has taught public school music in Indiana and Colorado and on a Navajo reservation in New Mexico. A specialist in the Kodály concept, she has also taught Kodály certification courses at Arizona State, Portland State, and Texas Tech Universities and served as artistic director of the Durango Children’s Chorale. A program author for Silver Burdett’s Making Music, she is now a contributing author for Interactive Music. Her other publications include several works for children’s voices (Colla Voce) as well as articles promoting innovative teaching techniques and performance practices.

Mann maintains an extensive schedule of concert performances, including the Durango Bach and Chamber Music Festivals, Music in the Mountains, and serving as principal flutist with the San Juan Symphony.

COLLEGE NOTES IN MEMORIAM LAURA ONWUDINANTI August 4, 1992–July 29, 2014 JACK PATRICK STEWART October 21, 1994–July 29, 2014

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

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

October 10—College Division Fall Conference in Austin.

October 15—Call for papers.

December 1—Essay contest entry deadline.

December 1—Composition contest entry deadline.

December 31—TMEA convention mail/fax preregistration deadline.

January 22, 2015—TMEA convention online preregistration deadline.

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

Refocusing the center of attention B Y

M I C H E L E

H E N R Y

B

y the time music education majors are ready to student-teach, they have spent 16 years of their lives as students—and most of them now excel at the task. In fact, being good at school is likely one reason that compels talented young musicians to the teaching profession. They are responsible; they are conscientious; they follow directions and complete assignments to our satisfaction; they have mastered the art of obedience. Yet teaching requires a different set of skills. Rather than follow directions, they must now give direction. Rather than looking for someone else to tell them they did it correctly, they are now the ones making judgments about the quality of others’ work. The focus of attention must shift from them to their students.

This shift is a significant change in mindset, and ideally it does not occur abruptly. Rather than throwing them into the deep end of the teaching pool, it is likely that most of our teacher education programs provide numerous opportunities to interact with students prior to their semester of student teaching, through observation and periodic teaching experiences in the schools. Yet even through these experiences, our future music educators may still view themselves in the role of student, desirous of completing tasks to our satisfaction. The way they complete assigned teaching tasks can shed much light on their mindset. Are they focused on completing the planned steps of their lesson, regardless of their students’ performance quality? Do they consider it a successful lesson if they complete all of its components in the allotted time? Are they fixated on their conducting gesture and not on the students’ response to it? In reflecting on the lesson, do they first focus on what they did and then what their students did (if at all)?

Our goal must be to help students shift their mindset from that of student to teacher sooner rather than later.

54 Southwestern Musician | September 2014

According to Janice Killian, Professor and Director of Graduate Studies in Music Education at Texas Tech University, â&#x20AC;&#x153;Research indicates that inexperienced teachers tend to focus first on themselves, then on the subject matter, and finally transition to focus on students.â&#x20AC;? In a recent study, she and her fellow researchers attempted to speed that transition.

They asked undergraduate music education majors to view brief video excerpts of music teachers and their students. Some were told to write what they noticed while others were asked what the students did.

Their results indicated that those told to focus on students mentioned student activities significantly more often, while those given no focus noticed primarily teacher activities.

As educators of music teachers, our goal must be to help this shift in perspective begin sooner rather than laterâ&#x20AC;&#x201D;a difficult task as applied studios, conducting lessons, juries, concerts, and recitals continually throw the spotlight back onto our charges in their performer role. Tests, papers, and other written assignments require them to conform to parameters outside of their control. The following are a few ideas for encouraging the spotlight to shine on a different outcomeâ&#x20AC;&#x201D;their studentsâ&#x20AC;&#x2122; work: Start Early Shifting the spotlight is not an instantaneous change. To gradually help adjust their focus, music education majors need to visualize themselves in the role of teacher as early as possible. Research has shown that high school students who have opportunities to teach are more likely to pursue teaching as a major1, and music education majors who had these experiences are more likely to pursue and complete their training 2. This role needs to be affirmed at the beginning of their collegiate career by providing regular opportunities to observe and teach early in their course of study.

Encourage Meaningful Interactions If elementary and secondary level students are the intended center of attention, teaching experiences should be designed to heighten music education majorsâ&#x20AC;&#x2122; interaction with these students in meaningful ways, rather than as guinea pigs for them to try out their developing teaching skills. Teaching experiences must be authentic and valuable to the students, and

the teachers-in-training must believe that their efforts are contributing to something real, not just an academic exercise. Beyond this, we should encourage our music education majors to invest in the students they are teaching, to take an interest in them beyond executors-of-orders given during instruction. In a conversation with several of my student teachers about getting reluctant students to participate, I suggested they look for ways to show that they were interested in these students as individuals, with their own unique interests and pursuits, rather than viewing

them as disruptions or barriers to instruction. The results were extremely encouraging. The student teachers attended track meets, basketball games, science fairs, and other outside events, as well as found out a lot of interesting facts and details about their students. In turn, the students ended up participating more fully in rehearsals.

Donâ&#x20AC;&#x2122;t Be One and Done Recurring teaching experiences provide a more realistic picture of what music educators face after graduation than do one-and-done opportunities. When they

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have only isolated teaching experiences, the focus remains on them and on executing their plan. How well the students learn matters less, because itâ&#x20AC;&#x2122;s unlikely they will ever see them again. If, however, the experience is designed as consecutive teaching exposures, their studentsâ&#x20AC;&#x2122; retention of the preceding lesson becomes much more relevant. Presenting material for the first time is an obvious part of the teaching process. Reteaching that same material is not. Yet any seasoned teacher knows that far more time is spent reinforcing than introducing. The only way to realize this is to experience it. Providing future music educators the occasion to appreciate this fact is another way to shift the spotlight.

5HĂ HFW RQ 7KHP 1RW <RX To truly grow in our teaching effectiveness, we must reflect on each teaching experienceâ&#x20AC;&#x201D;a principle that holds true for novice and veteran teachers alike.

In my methods courses, no one receives credit for a teaching assignment until submitting a reflection on the experience.

The reflection cannot simply be a script or blow-by-blow account of what occurred in the lesson. It must contain a thoughtful accounting of student outcomes. How did the studentsâ&#x20AC;&#x2122; performance change as a result of instruction? What did you as an instructor do differently as a result of the studentsâ&#x20AC;&#x2122; performance? What elicited effective change? What was ineffective?

The focus of the reflection must be on the students.

Engage in PDL (Public Displays of Learning) Tests and papers go in file cabinets, email folders, or recycle bins. Beyond the grade, there is little incentive to excel in such non-authentic displays of learning.

Find ways to up the ante in assignments by making the results count. One way to do this is to put the learning on public display. We are fortunate to have many opportunities in our discipline to make this happen. If my methods students are

coaching high school students in preparation for Region auditions or solo and ensemble contest, they also accompany them to the contest site that day and wait for the results with them. Using the same music presented in peer teaching cycles in class, my students serve as section leaders for an on-campus festival with over 350 high school musicians in attendance.

Rather than practicing UIL sightreading procedure on each other during class, we go to local high schools for a night of pre-UIL sightreading where the methods students are the directors, and the high school directors are the judges. These types of assignments definitely command my studentsâ&#x20AC;&#x2122; full attention, focusing on what the ensemble in front of them is doing.

Loosen the Requirements As teachers, we can be sticklers for form. When we want something done, we want it done to our exact specifications. Assignments in our classes can be quite rigid. As well-trained, obedient students, our music education majors can be obsessed with compliance. Nothing disconcerts my students more than for me to lack specificity in an assignmentâ&#x20AC;&#x201D; which is often exactly the way I want it.

Beyond not specifying 1-inch margins, double-spacing, Times New Roman font, or the like, I frequently tell them it doesnâ&#x20AC;&#x2122;t matter what kind of format the assignment takes. I have no template for lesson plans to which they must adhere. Their reflections can be prose, bullet points, or set to music. Resource materials can be collected in notebooks, electronically, or in any other format that is likely to be useful to them in the future. This lack of guidelines forces them to consider how they want it to be done, without deferring to prescribed rules. They must be the decision-makers and arbiters of quality.

Look Beyond the Methods Classes Beyond the methods courses are many other places within their college training for music education majors to step into

Attending the Fall Conference?

October 10 â&#x20AC;˘ TMEA Headquarters â&#x20AC;˘ Austin Email Michele_Henry@baylor.edu by October 1 56 Southwestern Musician | September 2014

the teacher roleâ&#x20AC;&#x201D;as section leaders, giving feedback in studio classes, tutoring underclassmen in theory. Each of these instances provides an opportunity for music education majors to invest in the success of others.

Turning students into teachers takes time and deliberate planning. Measuring success not by our own achievements but by our studentsâ&#x20AC;&#x2122; achievements is an experience that must be crafted for new teachers. By providing opportunities for the spotlight to shift, we are demonstrating this phenomenon in our own classrooms and basking in the reflected light of every new successful music educator entering our profession.

References 1. Henry, M. & Braucht, M. (2007).

Are All-State Musicians Our Future Music Educators? Southwestern Musician, 76(4), 36â&#x20AC;&#x201C;37.

2. Bergee, M. & Demorest, S. (2003).

Developing Tomorrowâ&#x20AC;&#x2122;s Music Teachers Today. Music Educators Journal, 89(4), 17â&#x20AC;&#x201C;20.

College Division Fall Conference The annual College Division Fall Conference will be held Friday, October 10, 2014, at the TMEA headquarters in Austin. At this yearâ&#x20AC;&#x2122;s conference, we will be discussing music teacher education programs in the state, two-year college issues, college student concerns, and implementation of the new TEKS and ramifications of HB 5. We hope all college faculty members will plan to attend. To register your attendance at the conference, please email Michele_Henry@baylor.edu

by October 1.

Call for Papers The Research Committee is pleased to announce the call for proposals for presentations at the 2015 TMEA Clinic/ Convention Research Poster Session.

The committee invites submissions from members in all TMEA divisions, including college students. Selected authors will present their research at an informal session in which interested music teachers can learn about the research and discuss applications to music teaching. For details on submission guidelines, please go to www.tmea.org/divisions-regions/college/ call-for-papers. The deadline for submissions is October 15, 2014.

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