September 2015 Southwestern Musician

SOUTHWESTERN MUSICIAN

SEPTEMBER 2015

SEPTEMBER 2015

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The Kids Came to Play. . . . . . . . . . . . . . . . . . . . . . . . . 13 Bringing joy and fun to the classroom can increase student engagement, interest, and learning, and overall program success.

BY BENJAMIN K ATZ, JOHN TIMPANI, AND SCOT T KENNEDY

Sharing Their Passion for Music . . . . . . . . . . . . . . . . 22 Klein ISD teenagers teach us that a simple idea can make a huge difference in the lives of young music students.

BY KAREN CROSS

Bringing New Music to Life. . . . . . . . . . . . . . . . . . . . . 34 Learn how commissioning a new work is feasible and will enrich your students’ musical experience.

BY JOEL LA MAR CRUZ

Are You Ready? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

columns

As you get into the routine of a new year, think about the attributes that will keep your students engaged and learning.

BY TIM LAUTZENHEISER

President’s Notes ............................................. 5

by Keith Dye

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

by Robert Floyd

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

by Andy Sealy

Orchestra Notes .............................................. 29

by Penny Meitz

Vocal Notes ........................................................... 39 Elementary Notes .......................................... 50

by Juli Salzman

College Notes ..................................................... 58

by Michele Henry

updates

by Robert Horton 2016 TMEA President’s Concert ............................................................ 2 TMEA Clinic/Convention: This Is the Best Place to Learn ..................... 8 Congratulations TMEA Honor Bands and Finalists .............................20 Congratulations TMEA Honor Orchestra and Finalists .......................32 What Do You Need to Know? Q&A for Teachers..................................38 Top Ten Skills Children Learn from the Arts .........................................56 On the cover: Students in the Kujawa Elementary Eagle Choir (Aldine ISD) perform during the 2015 TMEA Clinic/Convention. Photo by Paul Denman.

Call for Papers: October 15...................................................................60 Southwestern Musician | September 2015

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

Managing Editor: Karen Cross

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

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

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

SAVE THE DATE! Feb. 11, 2016 TME A PRESIDENT’S CONCERT FEATURING:

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

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

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

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

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

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

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

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

THURSDAY, FEB 11 • LILA COCKRELL THEATER • $10 The hallmark of any Canadian Brass performance is entertainment, spontaneity, virtuosity, and, most of all, fun—but never at the expense of the music. Whatever the style, the music is central and performed with utmost dedication, skill, and excellence.

TMEA.ORG/PRESIDENTSCONCERT Sponsored by Conn-Selmer, Canadian Brass will also present a masterclass during the convention.

Ticket sales beneďŹ t the TMEA Scholarship Fund.

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

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

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Southwestern Musician | September 2015

B Y

K E I T H

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PRESIDENT’S NOTES

The success of our younger others

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

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

November 16—TMEA scholarship online application deadline.

December 31—TMEA mail/fax convention preregistration deadline.

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

ome of the greatest pleasures in our profession are defined by their universal nature: our individual students’ progress, the success of performance, appreciative parents, and many more. At this time I’d like you to consider another, perhaps less noticed, element: the progress of our young music educators. As I write this from the perspective of someone with over 35 years in the music education profession, with the last 20 focused on teacher preparation, I know I can speak for others in my age range, but I also hope those of you in the early stages of your careers might take something away from this message.

All around us, new teachers are having either initial or early experiences in countless aspects of our profession. So many of us “old hands,” or seasoned veterans, have led hundreds of performances, thousands of rehearsals, and painfully innumerable lessons on key basic musical concepts. While we may not take these experiences for granted, there have been so many that we rarely step back and appreciate the varied and diverse facets that go into each of these episodes, each being a human collaboration that we facilitated.

At this point in the school year, most novice educators probably believe they have absolutely no time to consider much more than simply moving from one experience to the next in what seems to be much too rapid of a succession.

They go home each evening drained of energy. They fall asleep early, often too tired to even eat, and then routinely awaken suddenly with anticipation

I’m still really curious and I still love to perform and get my hands dirty, but I get such a huge thrill, maybe even a greater thrill, from seeing other, younger people doing things.—Yo-Yo Ma Southwestern Musician | September 2015

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and fear of what needs to be done in preparation for a reprise of a very similar succession of energy-draining events the following day. Eventually, these folks adjust—just like we veterans did—to the pace, to those unexpected obstacles tossed in the way of their well-designed plans, and of course, to the often unpredictable reactions to their efforts from students, parents, and others. We “old hands” survived; we’d like to even believe that we possibly improved. We certainly know that these rookies could gain a lot from

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Southwestern Musician | September 2015

our experiences. But is there a possibility we could be gaining from theirs?

In a 2013 New York Times interview, Yo-Yo Ma responded to the question, “Is the gratification you get from music different at 57 than it was at 27?” He offered the following: When you’re in your 20s you want to do it all yourself, and the great thing about being in my 50s is I’m super aware of one if not two generations of people that are younger, and their concepts of the world, the future, language, thinking patterns, are

all very different from mine. I’m still really curious and I still love to perform and get my hands dirty, but I get such a huge thrill, maybe even a greater thrill, from seeing other, younger people doing things. So the sense of joy or satisfaction has expanded.

Thanks to these incredible words, I’m delighted to share with my fellow “old hands” that there’s much more for us to enjoy this year and beyond!

“When you’re in your 20s you want to do it all yourself . . .” Well, that comes as no surprise. We lived it, and now we see it all around us. What is it about our profession that so frequently makes us think we have to do it all ourselves? For those of you just starting out, know that you don’t! “. . . the great thing about being in my 50s is I’m super aware of one if not two generations of people that are younger, and their concepts of the world, the future, language, thinking patterns, are all very different from mine . . .” In what other professions can one delight in such infusion of youth, new thought, and bold concepts? Do we take the time to notice and appreciate this? Could we be more “super aware” of our younger others? At your fall Region meeting did you look at the newcomers and think been there, done that, or did you consider how they possibly could be so uniquely different from how you were at that same stage?

“I’m still really curious and I still love to perform and get my hands dirty, but I get such a huge thrill, maybe even a greater thrill, from seeing other, younger people doing things. So the sense of joy or satisfaction has expanded.” Are we missing the huge thrill from seeing other, younger people doing things? Has our sense of joy or satisfaction expanded? Do we even truly take the time to notice? I would like to suggest that each of us pause at every opportunity and consciously appreciate the great work being done by the youngest in this profession.

While their experience level may at times inhibit the “spit and polish” they can provide compared to a successful veteran instructor, their fresh passion, spirit, and energy is to be encouraged, admired, and praised at every opportunity. I think we are beyond the day of rookies having to “earn their stripes” before being accepted into the profession. We veteran educators should extend the hand of experience and security and immediately do more to embrace them in the fold of our

profession and the world in which their musical interests reside. At a minimum, we should question any actions or behaviors that would cast aspersions on any of their well-intended efforts.

I challenge every seasoned veteran to find the time as often as possible to do any or all of the following: • Send a note to a young music teacher offering words of encouragement or welcome, or simply a “hang in there.”

• Send an email to their principal and others showing your support for the work they’re doing.

• Extend an offer to meet to openly discuss anything they want to talk about.

• Invite them to coffee or dinner with no strings attached (and pick up the tab!).

• Host a gathering with some young teachers in your district or geographical area to enable them to bond and share.

• Offer them the opportunity to attend some of your classes/rehearsals.

• Offer to observe their teaching, live or on video, and provide encouraging and positive concrete feedback.

• Join the TMEA Mentoring Network and become a mentor to a teacher new to the profession or new to Texas and help ensure their success during their initial years. (Mentors and proteges enroll at www.tmea.org/ mentor.)

• Encourage new teachers to join the TMEA Mentoring Network.

you and made your life better at that time in your life!

In all of this, work to develop a personal mindset of being first and foremost their steadfast advocate and trustworthy mentor. We have nothing to gain from any new educator bearing any negative feedback from role models, becoming frustrated with the complicated maneuvering of dealing with students, parents, and communities, or having thoughts that perhaps this isn’t really the greatest profession in the world. Perhaps our ultimate responsibility at this time is to encourage, at every opportunity, those who will follow in our footsteps. And as Yo-Yo Ma reminds us, this investment will result in the return of an even greater sense of joy and satisfaction. Think about it!

• Do anything else you can dream up that would have positively influenced

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

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

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

Bachelor of Arts in Music Scholarship auditions are held during the spring semester. Contact us to make an appointment for our primary audition day, Feb. 27, or to schedule an audition at another time.

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

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

Visit tarleton.edu/music for more information!

Southwestern Musician | September 2015

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

This Is the Best Place to Learn!

With over 300 clinics led by expert music educators, you will walk away from the TMEA convention equipped with new insight, information, and techniques that will improve your instruction the day you return to the classroom.

Our 2016 TMEA Featured Clinicians will offer more than 30 especially exciting clinics covering a multitude of topics. Learn more about them in this issue’s Vice-Presidents’ columns.

300+ CLINICS

AFTER FOUR DAYS

Wednesday TI:ME Music Technology Preconference Arrive Wednesday morning for a full day featuring back-to-back technology clinics. Clinics are offered for the novice to advanced technology user.

Check out a preview of the clinics you can attend at: tmea.org/clinicpreview IMPORTANT DATES October 1: Make a Housing Reservation December 31: Fax/Mail Preregistration Ends

RE TURN HOME A

BETTER TEACHER

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

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

Southwestern Musician | September 2015

B Y

R O B E R T

F L O Y D

EXECUTIVE DIRECTOR’S NOTES

Beyond pedagogy

E

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

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

November 16—TMEA scholarship online application deadline.

December 31—TMEA mail/fax convention preregistration deadline.

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

ach month the members of the Executive Board submit their columns without any prior dialogue or pre-assigned topic. While a priority from our membership is that the magazine be informational, as senior editor I encourage each of them to include a few thoughts on pedagogy or teaching strategies they have found to be helpful in their classrooms.

As this issue began to take shape, both with columns and feature articles, it became readily apparent that the content was not about pedagogy in its purest sense. Each contributor chose to talk about critical components of successful teaching that had nothing to do with mastering a simple rhythm, improving sightreading skills, or getting your band and orchestra to play better in tune.

President Keith Dye covers the importance of human collaboration that we facilitate as music educators. He asks us to reach out to younger teachers to assist them in any way possible but at the same time look to them for inspiration and a sense of joy as we celebrate their successes.

Band Vice-President Andy Sealy addresses the importance of building trust in the band hall and expressing concern for the well-being for our students. He encourages consistency in our actions and a respect for students’ time and other interests. Only when all these are in place can truly effective teaching and learning begin.

Orchestra Vice-President Penny Meitz discusses maintaining balance in one’s life and presents numerous suggestions to help maintain sanity and minimize stress in this demanding profession of music education.

Vocal Vice-President Bob Horton devotes his column to our professional attitude and the reality that we must shoulder responsibility for whether ours is a positive or negative one. He discusses myriad behaviors we want to avoid as well as those we should model.

While Elementary Vice-President Juli Salzman’s column offers more pragmatic content relating to learning environment, she also reminds readers about the value of collaboration with other teachers and the importance of not

Being a successful music educator is anchored in so many attributes and dimensions beyond those directly tied to pedagogy.

Southwestern Musician | September 2015

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trying to do everything yourself.

Finally, College Vice-President Michele Henry speaks to the relevance of training to serve students with special needs in our classrooms. This is a focus that is becoming more prevalent with a current educational philosophy that serves these students through inclusion rather than isolation.

Feature articles in this month’s issue also complement this emphasis. Tim Lautzenheiser writes about teaching style, what motivates us, how we deal with ego, and reminders of how we make

a difference in each individual student’s life. Benjamin Katz, John Timpani, and Scott Kennedy speak about bringing joy and fun into the classroom through trust, cooperation, and collaboration, always with students’ interests driving the decision-making process.

Finally, Karen Cross, our managing editor, writes about how one high school student has changed other students’ lives in her school district through the creation of a free orchestra tutoring program for low-income students. It is a model for how music can touch students’ lives and

The Institute for Music Research at the University of Texas at San Antonio presents

The Experiences of Preservice and Inservice Music Teachers

Colleen Conway Professor of Music Education The University of Michican Colleen Conway taught elementary general and instrumental music before beginning a career in higher education. She has published over 80 research articles in all of the major music education journals. Book publications include: Great Beginning for Music Teachers: A guide to Mentoring and Induction; Handbook for the Beginning Music Teacher; Handbook for the Music Mentor; Teaching Music in Higher Education; Handbook of Qualitative Research in American Music Education; and Musicianship-Focused Curriculum and Assessment.

DONALD HODGES LECTURE SERIES The Donald Hodges Lecture Series features distinguished research presentations in the areas of Music Psychology, Music Learning and Music Technology. The series provides opportunities for students, faculty and community members to engage in discourse with the people doing cutting edge research in these areas.

OCTOBER 19th 2015 at 7:00 PM free admission 10 Southwestern Musician | September 2015

utsa faculty center assembly room university of texas at san antonio contact: susan.dill@utsa.edu 210.458.5322

how we can inspire our own students to serve others through music.

As I reviewed the draft of this issue it once again became apparent that being a successful music educator is anchored in so many attributes and dimensions beyond those directly tied to pedagogy. I encourage you to read this issue cover to cover. You will be inspired and motivated and hopefully gain new ideas and insight that will elevate your success in the classroom this school year.

Realignment As you are likely well aware, for the past year the Executive Board, in collaboration with UIL, has been working on a new Region and Area alignment proposal.

President Dye throughout the year, both in presentations at the 2015 convention and through SOUTHWESTERN MUSICIAN, has updated you on the philosophy and progress of such a plan.

During the summer conventions the proposal was presented to the TMEA Region officers and State Board as well as the ATSSB Board, and it was shared with the membership at the recent Region meetings. Regions were asked to submit input through their Region President.

The August TMEA newsletter included a link to view the proposed alignment maps (www.tmea.org/realignment2016) to give individuals the opportunity to submit input by September 1.

So what is the next step? All input received is being reviewed, and on September 19, the TMEA Presidents, along with Brad Kent, UIL State Director of Music, will consider final revisions.

While both TMEA and UIL are committed to the same Region alignment, UIL may choose to have different Areas.

ATSSB will continue to define their own Areas as well, and in some cases combine Regions.

The final plan will then be presented at the 2016 TMEA Clinic/Convention and will be implemented with the 2016–2017 school year. Both old and new Regions will meet during the February convention, interim officers will be chosen in the meetings of the new Regions, and in the spring, permanent Region officers will be elected for a two-year term. The TMEA office will provide assistance and, in some cases, seed money to help in dividing current Region funds.

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 16, 2016 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, 2015. TCU Early Action provides application review and nonbinding University notiďŹ cation

by January 1, 2016, while allowing you to decide by May 1, 2016 (National Candidate Reply Date) to attend TCU. AUDITION DATES FOR SPRING 2016 January 30, 2016, February 20, 2016, and February 27, 2016 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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the kids came TO PLAY

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BY BENJAMIN KATZ, JOHN TIMPANI, AND SCOTT KENNEDY

ur team has taught together for several years, each of us bringing individual experiences from previous teaching positions to the group. Interestingly though, each of us arrived with the same approach of educating through laughter. Endearing the students to us through an enthusiastic and fun approach has allowed us to create an environment that students find interesting and engaging. This attitude worked for each of us at multiple campuses in various settings before we taught together. Not only have we seen this approach result in happy students, but it has also yielded highly successful music programs.

Over the years, I have observed several teaching styles and successful educators working with young students. Through those observations, it seems that students who rehearse in a lighthearted environment learn and retain more. They freely gave effort and energy rather than having the energy pulled from them. Coupled with the energy of experienced students is the raw enthusiasm that beginning students show. Throughout the year, we employ every possible technique to preserve that original eagerness.

WHAT WE BELIEVE Our philosophy is fairly simple: The kids came to play. When students sign up to play an instrument, they are filled with energy and excitement. We work to focus that energy in a positive way to help each student meet their potential. Our goal is to inspire, encourage, and sustain our students’ interest to the point that they develop an overwhelming passion for music. We want to ensure that every student, regardless of ability, has a desire and opportunity to continue to play throughout their high school years.

TRUST AND COOPERATION We strive to know each student by name and need. It is through their trust and belief in us that we can assist each of them in growing to their fullest potential both musically and as individuals.

We also want students to learn to teach each other and find ways to assist one another as soon as possible. This trust and feeling of safety allows students to relax and enjoy learning together as a team.

One way we promote this teamwork is by removing chair tests and rankings. We do rotate parts to foster that team atmosphere and mutual support, and we frequently move students to find the correct balance within the ensemble. We allow the students to sit within a section in any order they prefer. We will move students if one plays louder than another or if we need certain part assignments to sit together. We do not set numbers for each ensemble, but rather set a standard we expect each student to meet, regardless of instrumentation.

Similarly, we maintain that students must feel accepted as a part of the team, so we don’t give extra attention to the better players. Rather, we work to bring everyone up to a standard so we may perform together at a much higher level. Better players are expected to assist those who struggle so they may also master the material. Sometimes students can explain a concept in a way that is more understandable than if it were offered by an adult.

Sometimes, we find we just can’t speak teen.

Another way we promote more trusting teamwork is by teaching the difference between critique and criticism. Learning to accept critiques from their peers and teachers, without a negative emotional reaction, is paramount to our students’ musical growth. As we reduce the fear of comparison and critique,

Southwestern Musician | September 2015 13

students become more open to learning, adapting, and developing.

MODEL RESPECT AND COLLABORATION Since we emphasize student cooperation and trust, we must model those concepts in our daily work. Each director is in every rehearsal supporting one another and the students. We work as a team to divide each ensemble into its smallest components at every opportunity. Each director works for one another during rehearsal, depending upon who directs

that ensemble. As a staff, we must trust each other’s unique abilities.

The enjoyment we have in working together shows, and it promotes a playful environment that the students appreciate. Through this energy and excitement, every group is expected to rehearse and perform at a superior level. The best indicator of our success is when we hear, “Wow! It’s time to go already?”

SUPPORT STUDENT INTEREST AND OWNERSHIP We work diligently to maintain every

student’s interest in the program from day to day, month to month, and year to year, attempting to retain each student, regardless of ability. Sometimes students lose interest in a particular instrument, especially after sixth grade. This shouldn’t be a reason to stop playing. Occasionally, a student may switch to a different instrument for the next year. Some students excel after the switch because of their prior knowledge or simply a renewed enthusiasm for a new instrument. (Over the summer, we help students catch up to their peers.)

In sixth grade, we enforce classroom etiquette and expectations from day one.

The process and procedures of the room are essential for learning. In those first days, when everyone is learning how to put their instruments together and covering the more mundane basics, we incorporate a project on the history of the instrument. It fills in the gaps and is a fun way for students to build more respect and knowledge for their instrument.

They might watch a relevant video, listen to recordings, or play flashcard contests or theory games. We also teach rhythms through fun, current songs. This encourages repetition of complicated rhythms and articulations far beyond “Go Tell Aunt Rhodie.”

The only competition we have between students is our Scale Olympics. Even in this case, every child can pass a barrier and earn the status of Olympian. Instead of having students play with a metronome, we create background tracks or drum loops to play for warm-ups, scales, and lines in the book. The students love this!

KEEP THEM INTERESTED Daily warm-ups are essential, but we believe that spending more than 10% of rehearsal in warm-up (possibly more with a sub-non-varsity group) indicates that we missed steps in our beginner sequencing.

We also sightread consistently throughout the year and work continuously to find music the students will enjoy. We present students several pieces from which they can determine their UIL Concert Contest program and other performance literature. Students are allowed to vote on music they want to study. This encourages ownership in the program, and the students tend to practice music they enjoy.

For pop tunes and stand tunes, we write out music so that everyone has the melody

14 Southwestern Musician | September 2015

by adding shout choruses. This is essential for maintaining low brass and low reed players’ interest.

We perform several concerts throughout the year. In the middle of the first semester, we have a demonstration concert, playing lines out of the method book along with recorded tracks. Each group takes their turn to perform in the front, and their parents also rotate to the front so they can see their child and record them up close and personal.

We intentionally do not devote an extensive part of our year to our contest selections. For the recording through which we became a TMEA Honor Band, we began the rehearsal process the week before the winter break. With interruptions from spring break, state mandated testing, and other school events, we finished our last recording on May 2. For us, even those 16 weeks were too long.

Typically our ensembles spend no more than nine weeks preparing for UIL contest.

We also attempt to avoid conflicts with the students’ other activities. We plan our calendar of events around the school athletic calendar and ask parents to submit any significant known dates in advance.

This necessitates flexibility, understanding, and a willingness to allow students to occasionally miss rehearsals and sectionals. Our athletics staff appreciates our efforts and reciprocates in kind.

tion at the high school level. Throughout the year, we also decorate our lockers and have a scavenger hunt, a winter party, and a spring band contest and concert.

During the summer, we open the band hall on Tuesdays for students to take summer lessons and perform in a jazz band.

All students, regardless of instrument, are encouraged to play in jazz band. We work to have two or three jazz bands that rehearse and perform throughout the year, including a beginner jazz band. You haven’t lived until you’ve heard James Bond for beginner jazz oboe.

Throughout our instruction each year, inspiration is our ultimate goal. Making it fun is our vehicle to motivate students to develop a real interest and enthusiasm in their musical development. They may not remember everything they learned, but they will remember how they learned it.

We want students to remember the joy and thrill of making music and of being part of the band.

Benjamin Katz, John Timpani, and Scott Kennedy are band directors at Clark MS in Frisco ISD.

BEYOND BAND CLASS For seventh and eighth graders, we have the same social events as we do for sixth grade as well as performing fall, winter, and spring concerts. The eighth graders have an additional performance with the high school at a football game. The high school band plays our stand tunes and our eighth graders mingle with the high school students. This single event does more than any other to encourage reten-

Clark Middle School (in Frisco ISD) opened in the fall of 2000. With approximately 850 students currently enrolled in 6–8, over 380 students are enrolled in the band program. Rising sixth graders have five elective choices but may choose only one. Over 50% of last year’s sixth-grade class signed up for band. In 2013, the Clark Symphonic Band was named the 2014 TMEA CC Honor Band.

Southwestern Musician | September 2015 15

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B Y

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BAND NOTES

S E A L Y

Building trust in the band hall

O

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

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

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

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

November 7–8—All-State Jazz judging.

November 16—TMEA scholarship online application deadline.

December 31—TMEA mail/fax convention preregistration deadline.

January 9—Area Band and Vocal auditions.

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

ne of the most effective ways we can manage our classrooms is by continually building trust with our students. This is no easy task. It requires constant maintenance and personal attention.

However, the basics of building trust are fairly simple, and they rely heavily on good communication skills. Listen to your students and engage them in conversation.

The first step toward building trust is to demonstrate a concern for the well-being of our students. Knowing our students’ outside interests is as valuable as is being aware of their family situations. Inquiring about a student’s weekend Select Soccer tournament or how much weight their pig gained down at the ag barn will help you build rapport. Quietly expressing concern for an ailing grandparent or an unexpected layoff will go even further. Your students need to understand that you care about them beyond the confines of the band hall.

The second step is to be available to your students. Be available to look for a lost binder; be available to try to repair a bent key; be available to answer the burning questions of the day (Where do I put my horn case? Will there be pizza afterward?). Only when we sincerely work on these first two steps will our students ever give us the opportunity to show them that we love teaching music and want to share it with them.

As a teacher, we are almost always on stage. Parents, administrators, and most importantly, our students are constantly observing us. We can build trust by controlling our reactions to the stressful situations that occur every

Your students need to understand that you care DERXW WKHP EH\RQG WKH FRQÀQHV RI WKH EDQG hall.

Southwestern Musician | September 2015 17

day in our rehearsals. Like it or not there will be students late or unprepared for rehearsal. There will be wrong notes, fire drills, late buses, projectile vomiting, and rebellious oboe reeds. Maintaining our composure and monitoring our body language, voice, and facial expressions during these moments will help reassure students that these are all part of the way the band world goes. They’ll come to realize they are expected to learn and perform despite these challenges.

Regularly addressing student concerns and inappropriate behavior can also build trust. Our students need to see us establish clear and consistent rehearsal expectations. More importantly, our students need to see us confront and correct unacceptable actions and attitudes. As educators we cannot leave these situations unattended, yet angrily reprimanding the entire organization for the careless behavior of one or a few students will erode that trust and create an unintended environment of fear. Individually redirecting students and firmly reminding them of expectations is the way to go.

Similarly, our students need to see us calmly take action when we rectify simple logistical or procedural breakdowns like sectional scheduling conflicts, instrument checkout, or double-booked rehearsal spaces.

Another effective way to build trust is to be appreciative of your students’ time and efforts during rehearsal and for the

18 Southwestern Musician | September 2015

many things we constantly ask them to do around the band hall. Acknowledge student participation and preparation frequently and genuinely. Be as specific and detailed as possible in your gratitude.

Try saying thanks not only for musical improvement and positive participation, but also for simple acts like picking up trash off the band hall floor and holding the door open for others.

Students can be thanked in various ways, including via email, individual personal exchange, public acknowledgement, and the now-rare personal note. Your gestures of gratitude, at any level, will heighten your students’ awareness of all the folks who they should also be thanking. Additionally, students and directors should be sure to notice and thank administrators who attend concerts, parents who pass out water at a football game, and students who complete a helpful task even when they’re not asked.

Just as we must remember to acknowledge our students, my thanks go to each of you for your commitment to your students and to the advancement of music education in Texas. Know that your daily effort to offer the best experience to your students is greatly appreciated!

Membership and Liability Coverage All 2014–2015 TMEA memberships expired on June 30, and if you purchased liability insurance through TMEA, coverage expired on August 20. Don’t put off

renewing any longer, and be sure you carry a liability insurance policy, either through TMEA (for $30 annually) or elsewhere.

All music educators, including private lesson teachers and student-teachers, should maintain this very important coverage.

Clinic/Convention Updates Itâ&#x20AC;&#x2122;s already time to start thinking about the 2016 TMEA Clinic/Convention.

If you havenâ&#x20AC;&#x2122;t yet preregistered, go to www.tmea.org/preregistration to take advantage of the lower rate for this incredible event.

On October 1, at 6 A.M. CT, the online reservation system for members to secure discounted hotel reservations during the convention will open. There is no reason to wait to make your reservation, so do it as soon as possible to have the best opportunity to get a reservation at the property of your choice (some sell out in hours!).

When you make your reservation, keep in mind two exciting opportunities happening on Wednesday. The TI:ME Music Technology Preconference will present clinics solely focused on technology solutions for music educators. Also,

on Wednesday evening the Sam Houston State University Jazz Ensemble will be in concert in Lila Cockrell Theater featuring legendary guest artists Allen Vizzutti and Bill Watrous. Thursday nightâ&#x20AC;&#x2122;s Presidentâ&#x20AC;&#x2122;s Concert, benefiting the TMEA scholarship fund, will feature the spectacularly entertaining Canadian Brass. In 2016, come early and stay late to take advantage of all this convention will have to offer!

We are so fortunate to have a consummate educator, administrator, and conductor as the 2016 Band Division Featured Clinician. Richard Floyd led our state for many years at the UIL Music Office. Heâ&#x20AC;&#x2122;ll share his passionate perspectives on the art and beauty of what we do every day in a valuable four-session series throughout our convention.

Richard Floyd Featured Clinician Richard Floyd is enjoying his 53rd year of active involvement as a conductor, music educator, and administrator.

For 31 years, Floyd served as the UIL State Director of Music, where he coordinated all facets of secondary school music

competition for some 3,500 performing organizations throughout the state. He currently holds the title of Texas State Director of Music Emeritus. His other professional endeavors include the post of Musical Director and Conductor of the Austin Symphonic Band. Former positions include Professor of Conducting and Wind Ensemble Conductor at the University of South Florida, Director of Bands at Baylor University, and 11 years

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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 15 16

School/ISD ........................................................ Directors Aledo HS/Aledo ......................................................Joey Paul Vandegrift HS/Leander ................................. Mike Howard Waxahachie HS/Waxahachie .................Richard Armstrong Southwest HS/Fort Worth ................................Stacey Dunn Vista Ridge HS/Leander ............................. Bryan Christian Centennial HS/Frisco .......................................... Andy Rein Wakeland HS/Frisco ....................................... Gerard Miller Dripping Springs HS/Dripping Springs ...... Keith Lancaster McKinney HS/McKinney .................................. Ken Ringel Rockwall-Heath HS/Rockwall .................... Andrew Tucker Crosby HS/Crosby .......................................... Kevin Knight Roma HS/Roma ................................................Dena Laurel McKinney North HS/McKinney.....................Alan Harkey McCallum HS/Austin .....................................Carol Nelson Ridge Point HS/Fort Bend .......................... Michael Barnes Nederland HS/Nederland............................... Gregory Rose

Class 3A Rank 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17

School/ISD ........................................................ Directors New Diana HS/New Diana ........................... George Little White Oak HS/White Oak ................................Jason Steele Glen Rose HS/Glen Rose .................................. Ray Portillo Sunnyvale HS/Sunnyvale ............................ Mark Conaway Denver City HS/Denver City..................... Jerry Rodriquez Rockdale HS/Rockdale.................................Adrian Acevedo Sonora HS/Sonora ..........................................David Andrus City View HS/City View .............................. Terah Shawver Luling HS/Luling ................................................ Coral Rios Kountze HS/Kountze ......................................... Robert Fife Teague HS/Teague .............................................Cari Martin Anahuac HS/Anahuac ...........................Michael Brodowski Industrial HS/Industrial ..................... Houston Cummings Randolph HS/Randolph Field .......................... Hector Perez Florence HS/Florence ..................................... Thomas Pena Mathis HS/Mathis ...................................... Charles Cabrera Tulia HS/Tulia........................................... Brandon Haynes

Class 3C Rank 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

School/ISD .......................................................Directors Indian Springs MS/Keller ............................David Puckett Sue Wilson Stafford MS/Frisco............... Christian Holzer Fort Settlement MS/Fort Bend ............ Greg Countryman Byrd MS/Duncanville ..................................Kevin Graham Oliveira MS/Brownsville............................... Gaspar Garcia Canyon Vista MS/Round Rock .................. Ryan Johnstone Robinson MS/Plano ......................... Kimberly Hernandez Aledo MS/Aledo ............................................... Joey Qualls Trautmann MS/United ................................... Jorge Garcia Cockrill MS/McKinney ............................... Gary Williams Nolan Ryan JH/Alvin ................................Joshua Mooney Kelly Lane MS/Pflugerville .........................Cynthia Mixon Jones MS/Mansfield .......................................... Eric Bolden Lopez MS/North East........................................ Kim Garza Cinco Ranch JH/Katy ......................................Rory Davis

Class 2C Rank 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

School/ISD .......................................................Directors Coppell MS North/Coppell .................... Jeremy Lindquist Roma MS/Roma ............................................ Corey Graves Stiles MS/Leander........................... Darcy Potter Williams Arbor Creek MS/Lewisville ..........................Rylon Guidry Shadow Ridge MS/Lewisville .........Christopher Meredith Schimelpfenig MS/Plano ..............................Robert Straka Dueitt MS/Spring ............................ Christopher Gonzales Hill Country MS/Eanes ................................Cheryl Floyd Richland MS/Birdville .................................. Russell Porter Haltom MS/Birdville .......................................David Burks Veterans MS/Rio Grande City ..................Raymond Alanis League City MS/Clear Creek ..................... Rick Brockway Apollo JH/Richardson ................................... Andrew Weak Bayside IS/Clear Creek .......................................Kyle Mapp Tex Hill MS/North East .............................Kim Rosenberg

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 yearsâ&#x20AC;&#x2122; results online, go to: www.tmea.org/honorbandhistory 20 Southwestern Musician | September 2015

as a member of the music faculty in the nationally acclaimed Richardson school band program.

Floyd has toured extensively throughout the U.S., Canada, Australia, and Europe as a clinician, lecturer, adjudicator, and conductor. His areas of primary interest include conducting, wind band repertoire, and the entrenchment of performance-based music programs within the academic framework of the secondary school curriculum.

In 2002 he was the single recipient of the prestigious A.A. Harding Award presented by the American School Band Directors Association. The Texas Bandmasters Association honored him as Texas Bandmaster of the Year in 2006 and presented him the TBA Lifetime Administrative Achievement Award in 2008 and the TBA Lifetime Achievement

Award in 2015. Recently he also received the TMEA Distinguished Service Award in 2009 and was inducted into the Bands of America Hall of Fame and Texas Phi Beta Mu Hall of Fame in 2011. That same year he was awarded the Midwest International Band and Orchestra Clinic Medal of Honor, and in 2013 he was elected to the National Band Association Academy of Wind and Percussion Arts.

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.

Honor Band Congratulations go to the students and directors of the TMEA Honor Bands and finalists in Class 2C, 3C, 3A, and 5A. We look forward to Honor Band perfor-

mances during our 2016 convention. See the adjacent page for a listing of finalists and winners, and look to future issues of the magazine for more details on the Honor Bands that will be performing at our convention in February.

Renew Your TMEA Membership www.tmea.org/renew

University of North Texas Music Education Doctoral Degree Program

UNT faculty endeavor to help students find their own unique paths of inquiry, specializing in areas such as:

Instrumental and choral instruction Community music Issues in general music Music in special education Social justice in music education Ready for the next step in your career as a music educator? Join our growing community of discovery and research.

Christina Svec (Ph.D. ’15) Assistant Professor of Music Education Iowa State University

Jennifer Brimhall (Ph.D. ’14) Assistant Professor of Music Education Peabody Conservatory of Music

Michelle Herring (Ph.D. ’15) Assistant Professor of Music Education Columbus State University

Applications accepted on a rolling basis throughout the year. Those received before December 7th will receive priority for Fall 2016.

MORE INFORMATION: DON TAYLOR, MUSIC EDUCATION PH.D. PROGRAM COORDINATOR (940) 565-3745 / DON.TAYLOR@UNT.EDU / MUSICED.MUSIC.UNT.EDU

Southwestern Musician | September 2015 21

Sharing Their Passion for Music

by Karen Cross

O

n any given Saturday, at eight o’clock in the morning, Like many dedicated music students, Katherine comes from you’d find most teenagers still in a deep sleep. They a family of musicians. She didn’t grow up wondering whether she wouldn’t dream of rising early to reset a rehearsal would play an instrument. She just had to decide which one. And, room, enthusiastically interact with a bunch of tenfrom that day in fourth grade when the middle school director year-olds, or patiently guide beginner music students in learning demonstrated the cello, she was hooked. With strong family supthe basics. They’d just sleep. However, in Klein ISD, many young port and her parents’ high expectations, Katherine never considstudents have come to realize that not all teenagers are alike, espeered quitting. “My mother always taught me that once you started cially not Katherine Dodgen. something, you stick with it.” But it’s really not that simple.

For the past two years, Katherine and several fellow high Katherine loves to play the cello. She loves orchestra. And she school string students have left their lazy Saturday mornings loves helping others learn how to play. This passion for music behind to host Super Strings Saturdays. In this workshop, they and for teaching is what motivated her to establish Super Strings work with beginner fifth-grade string students to help them Saturday. improve their string skills, grow confidence, and build enthusiasm about continuing in their orchestra. Katherine founded this Developing the Program student-led program so that first-year string students who otherThroughout Klein ISD, fifth graders can take a beginning wise wouldn’t have access to private lessons could experience the string class taught before or after school by a middle or high joy of music-making and benefit from individualized instruction. school director. Many receive extra help during this class from “When I was a fifth grader, I know I high school string players who vollooked up to students who were my unteer; however, that’s not the case age now. Doing this helps them see Younger students are able to see for every fifth-grade class. themselves in our shoes,” Katherine When Katherine learned that the dedication and passion the some students don’t get this extra said. She also believes it’s important for beginners to listen to older stuhigh schoolers have for music and help and that these same students’ dents play. “It’s easier to relate to a families rarely can afford private teaching. These fifth graders aspire instruction, she wanted to do somestudent who is just a few years ahead of you rather than someone who has thing for them. “Private lessons to be like their role models. been working on this their whole enabled me to master the basics life. If you hear someone play who faster, so I had feelings of accomis better but who is only about five years older than you are, it’s plishment earlier than I would have otherwise,” she said. “It also easier to think, ‘I can do that.’” paved my way to having success in orchestra.”

22 Southwestern Musician | September 2015

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Katherine developed the concept for Super Strings Saturday with Cathy Fishburn, her former middle school orchestra teacher and a cosponsor of the Texas Future Music Educator (TFME) Klein chapter. “Katherine grabbed the ball and ran with it! Setting dates each school year with the principal and the other KISD directors was no easy feat.

She really became a strong organizer and learned how to make an idea become a reality,” said Fishburn. Katherine also worked with Richard Gist, Director of the Klein Intermediate Orchestra, to secure

their facility for these sessions.

With the logistics in place, she reached out to her TFME chapter and her orchestra friends to find volunteers. “My friends are the ones who are always helping, always staying to put stuff away after concerts, so getting them to volunteer wasn’t a problem, and they showed up pretty much every time we had a workshop,” she explained. “I even had students from other schools contact me after learning about the workshop because they wanted to help, too.”

Katherine provided a promotional flyer to fifth-grade orchestra teachers who sent them home in student folders, but she didn’t require students to sign up to attend—volunteers simply worked with whoever showed up. Around 20 beginners attended most of the Saturday workshops, and they were held about once per month.

A Typical Saturday Katherine and the other volunteers met early to set up and review what should be covered that day. “Initially, I learned what to tell volunteers to do by trial and error, but then I worked with Mr. Gist, and he

gave us a list of concepts to review and the music that needed to be covered.”

When students arrived, they tuned and warmed up as a group. Then they worked with the high school volunteers either individually or in groups. They focused on instrument position, bow holds, and the music from their orchestra class. And while these weren’t weekly private lessons, they still helped these students succeed. “When they get ahead in their classes, they’re happier about that and are more proud of themselves,” said Katherine.

After their individual instruction, students played together through the music they had been studying. With the day’s teaching complete, attendees enjoyed a free pizza lunch while Katherine and the other volunteers played songs that were familiar to the attendees. “They enjoyed it so much that sometimes we had some younger students making requests for specific songs,” she said. And the parents in attendance got to witness how continuing in orchestra would be a positive experience for their children, both musically and socially.

Katherine initially created this program

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Joey Qualls, Aledo MS Band, Aledo ISD “RhythmBee helps our students develop a rhythmic vocabulary and a strong sense of internal pulse. The visual characteristics of RhythmBee are integral because they make the students watch for pulse, which puts responsibility on each student. These skills help our middle school students succeed in full ensembles.”

24 Southwestern Musician | September 2015

Amy Dykes, Greenville MS Band, Greenville ISD “Using RhythmBee every day has led to strong fundamental counting skills for our beginning band students.

They LIKE counting and can read and count simple and compound rhythms.

They also UNDERSTAND how rhythm and time signatures work. If you have one software choice, use RhythmBee.”

Mary Gold, West Memorial Jr. High, Katy ISD “This year, we taught our beginning band students how to count using RhythmBee. The logical progression, optional metronome sound, and visual foot tap took our students from not being able to count a note to independent counters of simple and compound rhythms. This system works and can be used with any band method book.”

If there is a student out there considering doing something like this, they definitely should . . . There is no greater feeling in the world than when youâ&#x20AC;&#x2122;ve made a difference in someoneâ&#x20AC;&#x2122;s lifeâ&#x20AC;&#x201D;youâ&#x20AC;&#x2122;ve done something for them, sharing what you love to do. as a project to qualify her for a Girl Scout Gold Award; however, after finishing the one year planned for it, she couldnâ&#x20AC;&#x2122;t stop. â&#x20AC;&#x153;It was just too much fun!â&#x20AC;?

A Simple Idea Yields Extraordinary Benefits After attending this workshop, students have grown musically, and some have also become more involved in their orchestra program. â&#x20AC;&#x153;The younger students are able

to see the dedication and passion the high schoolers have for music and teaching,â&#x20AC;? said Fishburn. â&#x20AC;&#x153;These fifth graders aspire to be like their role models.â&#x20AC;? Gist added, â&#x20AC;&#x153;They learn a lot and really enjoy working with the high school students, and their parents are grateful to have this opportunity for their child and canâ&#x20AC;&#x2122;t wait until we have the next one.â&#x20AC;?

Gist reports that his orchestraâ&#x20AC;&#x2122;s membership increased from 80 to 110 students

for this school year, and he believes that Super Strings Saturday had a part in that increase: â&#x20AC;&#x153;The kids who attend the workshops are more motivated by the experience. They show more improvement on their instrument than the ones who donâ&#x20AC;&#x2122;tâ&#x20AC;&#x201D;my ensemble did improve.â&#x20AC;?

And while the students being taught are the obvious beneficiaries, volunteers also gain valuable experience. â&#x20AC;&#x153;They got a real taste of working with true beginners and what it takes to put teaching ideas into words that work for different types of learners who are also at different levels,â&#x20AC;? Fishburn explained. Katherine also attests that itâ&#x20AC;&#x2122;s helped keep her mindful of the basics: â&#x20AC;&#x153;I find that when I teach these younger players, I get better myself.

The moment I pick up my bow, I hear the words of the song that we use to teach the students proper position, and Iâ&#x20AC;&#x2122;m

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reminded to follow that guidance myself.”

Working as a volunteer has also helped some students decide about pursuing a future in music education. “They realize that they can take their passion and their music to the next level by offering it to the next generation,” said Fishburn.

“They are excited that they can pay it forward their entire lives by doing something they love.”

Following Her Passion for Teaching Last summer, as Katherine began working on her college application essays, she found it was easiest to write about her project. And with that, her future seemed much clearer: “I thought, why don’t I just do this? This is what I love!”

Katherine credits her experiences as a TFME chapter member for greatly influencing her future plans. She joined the Klein chapter her sophomore year and in her senior year served as president. “I was a shy person and not very outgoing, and I needed to participate with a group. I’m so glad I joined because I love TFME—I got to meet students from across the district, and I had a blast! I just wish we had met more.” She’s now hopeful that her TFME friends will take on Super Strings Saturday as a chapter project.

Through their chapter activities, members of the Klein TFME chapter (cosponsored by Cathy Fishburn and Laurie Arnold) have heard from Klein alums on what it takes to be a college music major.

Klein teachers who were former students in the district have given them firsthand advice. College professors have spoken about what they look for from students and offered advice on what high school students can do to be more successful as a future music educator.

Recognized As a Student Hero

Katherine receives a State Board of Education Student Hero Award during her Klein Oak HS Orchestra class, surrounded by family, program volunteers, TFME chapter members, Klein ISD orchestra directors, and school administrators.

Based on her work with this program, Katherine was recently recognized by the State Board of Education with a Student Hero award. This was the inaugural year for this award, and each SBOE member was able to select just one student from their district’s pool of eligible nominees. SBOE Chair Donna Bahorich selected Katherine, who was nominated by Cathy Fishburn. “What really set Katherine apart from the many great students I had to choose among was her engagement of so many of her fellow students in serving other students,” Bahorich said. “In addition, music is so clearly Katherine’s personal passion. Using her passion to enable and equip others to pursue that same passion is truly outstanding. Katherine is a gift!”

Members also receive conducting lessons from master teachers from Klein and some local college professors. They then have the experience to read a score and conduct their peers. “TFME opened up this option of being a music educator for me,” Katherine said. “It’s been very enlightening to listen to former college students and learn how not to make their mistakes. I feel more prepared to start in

the fall because of what we learned.”

Katherine is now a freshman at UT/ Arlington, majoring in music education.

She already plans to return to Klein ISD as an orchestra director and hopes to find young high school students continuing what she started—so that every student has the opportunity to develop a passion for music and to experience success.

Invest in the Future Texas Future Music Educators is a TMEA-sponsored program that offers students who have an interest in music education an opportunity to provide service to their school music programs and to prepare for entry into college music programs.

Sta r t a er chapt ll! a f s i h t

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

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

2. Market TFME to all high school music students.

5. Support TFME members and HQMR\ WKH VLJQLÀFDQW UHWXUQ RQ your investment!

3. Submit your chapter charter and dues to TMEA.

www.tmea.org/tfme For more information, email kvanlandingham@tmea.org

Southwestern Musician | September 2015 27

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

B Y

P E N N Y

ORCHESTRA NOTES

M E I T Z

A teacher’s survival guide

A

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

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

September 15—HS String Honor Orchestra online entries due.

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

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

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

November 16—TMEA scholarship online application deadline.

December 31—TMEA mail/fax convention preregistration deadline.

January 9—Area Band and Vocal auditions.

February 10–13, 2016—TMEA Clinic/ Convention in San Antonio.

s we become immersed in the new school year, some of us may already be feeling worn out and overwhelmed. For many, teaching orchestra isn’t just a job. It’s a way of life—it is our life! Keeping up with the myriad of facets that our jobs comprise can be exhausting, especially if we haven’t developed strategies to help keep our heads above water and lives in balance.

Here are some suggestions from several friends who I have found to be masters at juggling multiple tasks: Make lists and prioritize the things you need to accomplish. I confess I am a list addict. Most days begin with at least one list of tasks, simple and multifaceted, that need to be accomplished. For me, breaking down the big stuff into bite-size steps helps keep panic at bay. How do you eat an elephant? One bite at a time!

Take time for yourself. Go for a walk. Chat with a friend. Schedule a massage. There are days that are so jam-packed, something as small as walking outside the building to get from my room to the main office seems rejuvenating. The very nature of our jobs necessitates putting almost everything else ahead of our own needs and well-being. Find time on a regular basis to take care of yourself, and never feel guilty about it!

Stay fresh. As we launch another school year and settle into a daily routine, the desire to improve on past years is strong. Keep things interesting by doing something new each year. We have such a wealth of repertoire to choose from that teaching new music can help us keep a fresh spin on a class we may have taught for years. Innovative technology offers new ideas every year for

For many, teaching orchestra isn’t just a job. It’s a way of life—it is our life!

Southwestern Musician | September 2015 29

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accomplishing necessary repetitive tasks.

Be open to new ideas and different ways of doing something. Consider making one of this year’s goals to do something or teach something you never have before.

Get plenty of sleep. There is little that is as restorative as a good night’s sleep. Know when to turn off the computer, unwind with a cup of tea, a glass of wine, a good book, or whatever helps your mind slow down, and tuck yourself into a comfy bed.

Most of the time, things will look more manageable on the other side of rest.

Know when to stop. Hard as we may work or try, there will be times when reaching the goal isn’t likely. Or maybe the time isn’t right for achieving an objective we’ve been striving toward. Consider the possibility of setting aside a task, project, or goal for a while, and moving on to something new. As discouraging as it is to think of defeat, moving on can help to keep us moving forward. Putting a little distance between ourselves and a difficult problem can give a fresh perspective that leads to possible solutions or resolutions. Don’t be afraid to back away for a while, whether that means sleeping on a

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Honor Orchestra Finalists & Winners High School Full

Rank 1 2 3 4 5

School/ISD ........................................................................................ Directors Seven Lakes HS/Katy .................................................................Desiree Overree Liberty HS/Frisco ......................................................................... Julie Blackstock Westwood HS/Round Rock ...........................................................Susan Williams Allen HS/Allen ................................................................................David DeVoto McKinney Boyd HS/McKinney ...................................................... Michael Link

Rank 1 2 3 4 5 6

School/ISD ........................................................................................ Directors Robinson MS/Plano ..................................................................Mary Havenstrite Schimelpfenig MS/Plano ..........................................Jennifer Guffey/Bob Straka Ereckson MS/Allen ........................................................................Joanna Devoto Rice MS/Plano ................................................................................... Barbara Fox Williams MS/Rockwall ......................................................................Shari Allison Wester MS/Frisco....................................................................... Jennifer Vanhook

Rank 1 2 3 4 5 6 7 8

School/ISD ........................................................................................ Directors Westbrook IS/Clear Creek ...............................................................Tom Dinardis Beckendorff JH/Katy ............................................................................Karel Butz Fowler MS/Frisco .......................................................................... Karina Lindsey Kealing MS/Austin ............................................................................David Jarrott Rice MS/Plano ................................................................................... Barbara Fox Ereckson MS/Allen ....................................................................... Joanna DeVoto Robinson MS/Plano ..................................................................Mary Havenstrite WoodCreek JH/Katy ....................................................................Bryanna Porter

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.

problem or leaving something longer than overnight.

Keep things in perspective. Easy to say, I know! It’s so difficult to look at our work objectively and remember that as significant as it is to each of us, it doesn’t define our worth as human beings. For me, it’s often difficult to separate work from selfimage, especially if things at school are not going smoothly.

Participate in activities and cultivate friendships that broaden your horizons outside the orchestra classroom. I am awed by the activities many of my colleagues participate in, from Ironman competitions, ballroom dancing, roller derbies, gourmet cooking, home-brewing, coaching Little League, and more! Having pursuits that take you away from the stress and demands of every day is essential to a healthy, well-balanced life.

When all else fails, there’s always chocolate!

Honor Orchestra Congratulations to the finalists of the MS/JH String, MS/JH Full, and HS Full Honor Orchestras. Selecting these outstanding ensembles was difficult because there were so many excellent orchestras entered in the contests. Each one of the finalists was worthy of a performance spot at TMEA! See the listing of finalists and winners on this page, and look to a future issue of the magazine for more details on our winners who will perform at our convention in February. The finalists and winner of our HS String Honor Orchestra will be announced in our January issue.

Clinic/Convention Update I’m excited to offer information about our Orchestra Division Featured Clinician in this issue. When it’s time to make your schedule, be sure to attend his clinics as they are sure to give you new strategies and ideas to take back to your classrooms immediately following the convention. If you haven’t yet, be sure to preregister for the convention, either when you renew your membership or later by returning to www.tmea.org/membership and selecting the appropriate action. As you are thinking about the convention, be sure to mark October 1 on your calendar as that is the day (starting at 6 A.M. CT) our discounted convention housing reservation system will be available online.

32 Southwestern Musician | September 2015

the Hilliard City Schools (Ohio), the Orange County Public Schools (Florida), and the Clark County School District, centered in Las Vegas. Under his direction, the Winter Park HS Philharmonic Orchestra was chosen to perform at the 60th annual Midwest Band and Orchestra Clinic. He has also taught courses at the Ohio State University, the College of Southern Nevada, Valencia College, and the University of Nevada/Las Vegas.

Laux has presented educational sessions for the Midwest Clinic, American

String Teachers Association, Technology Institute for Music Education, Association for Technology in Music Instruction, and many state music educator conferences.

As a violinist and violist, he has performed with the Las Vegas Philharmonic, the Nevada Chamber Symphony, and the Columbus String Quartet. Laux enjoys giving back to the profession through his blog at www.orchestrateacher.net. He remains in frequent demand across the nation as an orchestra clinician, conductor, and adjudicator.

Featured Clinician Charles Laux As an Assistant Professor of String Music Education at Kennesaw State University, Charles Laux teaches string techniques, string pedagogy, and technology integration, supervises student teachers, conducts the KSU Philharmonic, and serves as director of the KSU String Project. In addition he is conductor of the Georgia Youth Symphony Camerata Orchestra and an Essential Elements clinician, consultant, and contributor for the Hal Leonard Corporation. Laux holds degrees in music education from Ohio University and the University of Nevada/ Las Vegas and a PhD from the Ohio State University with a minor in educational technology.

For 15 years he served as a public school music educator, directing orchestras in

Your TMEA Membership Has Expired Donâ&#x20AC;&#x2122;t wait for a deadline to renew. $FW QRZ WR UHFHLYH EHQHĂ&#x20AC;WV throughout the year. When you renew, be sure to purchase liability insurance as well.

www.tmea.org/renew Southwestern Musician | September 2015 33

Bringing New Music to Life

by Joel L aMar Cruz

W

hat do Beethoven’s 9th Symphony, Mozart’s Requiem, Sibelius’s Symphony No. 5, and Gershwin’s Rhapsody in Blue have in common? The answer: Each was commissioned by a local performing group in need of new music.

Many great pieces of music owe their existence to a commission. When Jacqueline Kennedy wanted to honor the memory of her late husband at the opening of the Kennedy Center, she didn’t order a sculpture or a cenotaph, she commissioned Leonard Bernstein’s Mass. And who would remember Christian Ludwig, Margrave of Brandenburg-Schwedt, were it not for Bach’s Brandenburg Concertos?

A composition like Bernstein’s Mass is a vast work requiring singing, staging, and sets. It represents countless hours by a multitude of contributors to bring it to fruition. However, most music commissions are far humbler affairs, such as solo works for a single instrument, or pieces for mixed winds or chorus. And commissioning music shouldn’t seem out of reach by anyone.

Music commissions provide composers the means to ply their craft, and they can provide an ensemble with a composition that commemorates an event or accomplishment or honors the legacy of an individual. When a school band, orchestra, or choir commissions a piece of music they have the opportunity to: • Commemorate a special occasion • Stimulate student pride and accomplishment • Offer students a unique educational experience of collaborating with a living composer • Support the creative pursuits of an emerging composer • Create a lasting legacy for the ensemble by its association with a particular piece of music If you’ve attended concerts at a TMEA convention, no doubt

34 Southwestern Musician | September 2015

you’ve witnessed the performance of a commissioned work. An event of this magnitude presents the perfect opportunity for commissioning new music. A commission reinforces the reputation of the ensemble and provides a platform for new and acclaimed composers. Not long after our high school men’s chorus received the invitation to perform at the 2015 TMEA Clinic/Convention, before the state’s most discerning music professionals, we realized that we wanted to include something special, namely the performance of a commission. As we reflect on that concert, and especially on our preparations for it, this turned out to be one of the best decisions we made.

For many instructors, commissioning new music may seem like a complicated, cost-prohibitive undertaking. Where do we begin? Can we afford it? But we discovered that the experience is surprisingly easy and incredibly rewarding. I hope you will think about taking on a commission project in the future. As you do, consider what we learned in the process, how it was a positive experience for our students, and how the event was made all the more memorable by honoring it with a commissioned piece of music.

C HOOSING YOUR C OMPOSER

Having never commissioned a piece of music before, I wasn’t sure where to begin. But I knew that I wanted music that would leave a lasting impression on our audience and be enthusiastically received by our singers. I immediately thought of the work of Joseph Martin, recalling several of his works that seemed to strike the chords of grandeur and triumph that we were looking for. But would a renowned composer like Martin have time for us? How would I even reach him?

Composers, I discovered, are surprisingly accessible. By visiting Martin’s website, I found his commission guidelines, prices,

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and other specifications. I contacted him directly, and in no time we were on our way to making music together.

He could have said no. Most composers turn down as many commissions as they agree to fulfill, so be sure to start the process with two or three composers in mind in case your first choice isn’t feasible.

When searching for a composer, consider the mood of the occasion—whether it’s patriotic, meditative, moving, or mournful—and listen to works by contemporary composers who have written music that fits your concept. Visit the websites of music publishers and become familiar with some of the rising stars in the composing world. Find out what other music teachers are listening to and see if they have composer suggestions.

W HAT’S YOUR MESSAGE?

If your work has lyrics, you’ll obviously need words. While some composers prefer to create their own lyrics, others are open to collaboration. Poems in the public domain can provide good source material since you don’t need to gain permission for their use. You could also consider commissioning a local poet or writer to create the lyrics—think how this could extend the educational collaborative experience for your students even more!

We wanted our commissioned music to convey a stirring message that responded to contemporary issues. We wanted our audience to walk away with an idea to ponder. With that in mind, we solicited the participation of Will Everett, a writer in Afghanistan, whom I knew from a previous project. He responded with lyrics that explored the thorny reality of religious intolerance. Upon receiving the first version, we asked for a few modifications, and once they were finalized, we sent them on to our composer. Martin agreed to use them in his piece. And so “The Message” was born.

The composer and writer then collaborated separately, via phone and email.

Words sometimes need to be changed to suit the music. And while not all writers are comfortable with this, we were fortunate in finding a composer and lyricist who were able to work together so harmoniously. Three months later we had a finished piece of music ready for rehearsal.

Of course, composers work at their tempos and have varying work demands, so the delivery schedule will vary greatly.

If you’re looking for music for a special event, plan for at least three to six months for score and parts to be delivered once the composer is able to begin the work.

And don’t forget to factor in plenty of rehearsal time!

HOW CAN W E AF FORD IT?

Commissioning rates vary widely depending on the experience and reputation of the composer and the length and complexity of the music. Composers might also adjust their rates depending on the occasion and the ensemble’s budget.

Regardless, don’t avoid the idea of commissioning because you’re afraid of the financial commitment.

Each year music schools across the country graduate talented composers looking to put their name on the musical

grant opportunities for the development of new music.

W HAT’S IN IT FOR YOU?

The finished piece of music, whether it’s a string quartet, a rousing anthem, or a six-minute work for men’s chorus like “The Message,” is the property of the composer. You won’t receive royalties on it, but you will receive the sheet music and performance rights as specified in the contract with the composer. “The Message” was published by Hal Leonard six months after we premiered it, and it certainly brought great prestige to our program having our ensemble’s name on the title page. (Publication is a separate process, of course, and is by no means guaranteed.)

For students, being part of a com-

They had a sense of being given a great duty to bring this music to life, and it was their honor to fulfill it. map. These young musicians often search for commissions to help them establish their reputations, and working with school music ensembles provides reciprocal advantages of being educational both for your students and the composer.

The American Composers Forum can help you find the right composer for your commission (for more details go to www.composersforum.org). The music department of a nearby college or university could also provide additional resources.

A piece for multiple parts can range from the low thousands to five figures depending on the complexity of the music and the demand for the composer. A work for solo trumpet obviously requires less work for the composer and would be much less expensive than a piece for full orchestra. If your department’s budget is tight (and whose isn’t?), appeal to your principal or superintendent, or consider a special fundraising event to cover the costs. Local benefactors, state and national arts councils, and foundations often offer

mission project offers the extraordinary opportunity to collaborate with a professional on the creation and unveiling of a piece of music that has never before been heard. During our project, the students had several email conversations with our lyricist, and he made a special trip from Afghanistan to be at the world premiere.

He shared a personal message with them just before we stepped on stage—what a special moment!

Despite its challenges and complexities, the members of our men’s choir responded quite enthusiastically to Martin’s music.

They had a sense of being given a great duty to bring this music to life, and it was their honor to fulfill it. During their performance at the TMEA convention, it was clear that they were investing their maximum effort and energy into every piece, yet “The Message” was different.

This was their music.

Joel LaMar Cruz is the Harlingen HS Head Choir Director.

Southwestern Musician | September 2015 37

WHAT DO YOU NEED TO KNOW? How do you effectively teach

large classes?

You have questions We have answers

32 answers at tmea.org/questions How do students qualify for letter

tmea.org

jackets and who pays for them?

42 answers at tmea.org/questions

What unique procedures have

kept misbehavior to a minimum?

25 answers at tmea.org/questions

How do you achieve balance

between work and home life?

60 answers at tmea.org/questions What

modifications do you use for students who have dyslexia?

32 answers at tmea.org/questions

Get answers to your questions about advocacy, discipline, planning, programming, special needs instruction, technology integration, and much more!

Q&A for Teachers is a valuable repository of knowledge supplied by teachers like you.

At www.tmea.org/questions, you’ll find these questions and over 230 more that have been answered by your colleagues across the state during the past several years.

More than 3,500 answers are available to practical, everyday questions that teachers like you have asked.

Questions are searchable based on their topic or applicability to your division.

WWW.TMEA.ORG/QUESTIONS 38 Southwestern Musician | September 2015

B Y

R O B E R T

H O R T O N

VOCAL NOTES

Attitude check

I

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

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

November 16—TMEA scholarship online application deadline.

December 31—TMEA mail/fax convention preregistration deadline.

January 9—Area Band and Vocal auditions.

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

admit it. I struggle with my attitude. I love people and being around them. But when I get tired, hungry, or impatient because I have taught a part to the basses for the seventeenth time, I have to really work to keep a good attitude. And, believe me—that can be hard work!

However, the reward of a good attitude has always been worth the effort.

Sometimes I need to take a timeout to remind myself of the great things in my life, the abundant blessings I have been given, and the great things yet to come. Early in my teaching career I decided that rather than ride the rollercoaster of good days and bad days, I would look for ways to maintain a good attitude. As our fall progresses, I ask you these questions: Is your attitude contagious? Is it worth catching?

So, here is my disclaimer: No one is perfect, and I know that I don’t have all the answers. Still, I’d like to share a few thoughts about attitude that I have gleaned over the years and have seen successfully implemented.

If you believe, as many of us do, that we are in charge of our attitudes, allow me to share some potential issues that negativity can create. While it’s definitely not a complete list, the items on it cause me enough concern to want to avoid these behaviors.

Negative attitudes turn opportunities into obstacles. You might have heard the popular story about two shoe salesmen who were sent to a remote undeveloped country to sell their products. One sent this message back to his company headquarters, “Terrible market here; no one wears shoes.” The other reported, “The market here is terrific! No one wears shoes!”

Often, while trying to motivate my students I have told them, “Those who say it cannot be done should get out of the way of those who are already

You can change your actions and your life simply by accepting responsibility for your attitude and changing how you look at life.

Southwestern Musician | September 2015 39

doing it!” Will you experience life as a series of exciting adventures and challenges or as an endless string of frustrations and catastrophes? No one can answer that question but you.

Negative attitudes limit our potential.

If you believe you can’t, often you won’t.

If you believe you can’t be successful, can’t overcome your problems, or can’t make a difference, you won’t. Worse yet,

if you can decide before you even try that your obstacles are too big, the timing is all wrong, and your abilities are too small, you will live frustrated and unfulfilled, not because you are inadequate but because your attitude is negative.

Negative attitudes repel positive people and attract negative ones. Is it true that opposites attract or that birds of a feather flock together? I can tell you that when it comes to negative and positive people, opposites do not attract. It is incredibly difficult to stay positive when you are surrounded by people who are negative.

Scientists at Stanford have even reported that listening to 30 minutes of complaining peels away neurons in a person’s hippocampus—the area of the brain responsible for problem solving. Positive people know instinctively that listening to people who are constantly negative will damage their brains!

After my first year of teaching, I resolved not to enter the faculty lounge unless it was absolutely necessary. It was simply a place of constant negativity that never served as a good influence on my day. We need to look for opportunities like this to minimize our interactions

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40 Southwestern Musician | September 2015

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with those who simply bring us down.

So, with all the negativity that seems to surround us, how can we work to keep a positive attitude? What determines whether you live with a good attitude is not what happens to you as much as what happens within you.

Stay positive by accepting responsibility for your attitude. We are not automatons programmed against our wills by life’s events. We choose how we respond to each of our life’s experiences. You are not a microwave oven. You don’t have to heat up and possibly explode each time someone comes by and presses your buttons.

You are a human being and you can determine whether you get hot or stay cool.

Am I saying you can change your actions and your life simply by accepting responsibility for your attitude and changing how you look at life? Absolutely.

Think a different way and you will act a different way. Act a different way and you will feel a different way. Sometimes we believe that when our feelings change, we’ll be able to change how we act. No— change how you act and your feelings will usually follow.

Stay positive by looking for the good around you. Positive people look for what’s going right and are grateful for what they have. I have often had to choose to believe the good in people and situations when the good wasn’t immediately apparent. I have to remind myself that things usually have a way of working out, and usually it works out better than we would have imagined. The following is a great quote to illustrate this idea: “High achievement always takes place in the framework of high expectation.”

Stay positive by inventorying your influencers. What influences you the most?

Television shows and movies you watch, the books, magazines, and websites you read, and the people you are around are the most likely candidates. You can watch and read anything and spend time with anyone you want. I encourage you to spend some time thinking about the people you spend time with and consider how each of them influences your life. Some influencers in your life will cause you to dream big and live large. Others will cause you to dream little and live cynical and small.

Why is attitude important? Because we are in the people business. Hugh Sanders, Past-President of TMEA and ACDA, was

fond of saying, “You can use music to make people or people to make music.” I encourage you to ponder this idea for you and your singers.

On my office door for the past 11 years, I have displayed a great quote from Charles Swindoll. This is an excerpt from it: . . . we have a choice every day regarding the attitude we will embrace for that day.

We cannot change our past, or the fact that people will act in a certain way. We cannot change the inevitable. The only thing that we can do is play on the one string that we have: our attitude. I am convinced that life is 10% what happens to me and 90% how I react to it.

Is Your Membership Active?

All 2014–2015 TMEA memberships expired on June 30, and if you purchased liability insurance through TMEA, your coverage expired on August 20. Take time now to renew if you haven’t already, and if you haven’t purchased liability insurance elsewhere, be sure to make the $30 investment in this very important coverage.

Anyone who works with students should have it. To renew and purchase this insurance, go to www.tmea.org/renew.

Clinic/Convention Update I hope that like me, you are looking forward to another amazing convention experience in February. It’s not too early to make plans and preregister for the

event! Go to www.tmea.org/preregister or preregister when you renew your membership. Our convention offers hundreds of hours of professional development opportunities by renowned clinicians from Texas and beyond. This month, I’m pleased to introduce our Vocal Division Featured Clinician. Be sure you take time to attend his incredible sessions!

Kent Hatteberg Featured Clinician Kent Hatteberg is Director of Choral Activities at the University of Louisville, where he directs the Collegiate Chorale and Cardinal Singers and teaches courses in conducting, choral literature, and choral techniques. He earned his bachelor’s

An Introduction to Sight Singing Series

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www.timwmusic.com An Introduction to Tenor-Bass Sight Singing Book 1 & 2

An Introduction to Soprano-Alto Sight Singing Book 1 & 2 Southwestern Musician | September 2015 41

degree in piano and voice from the University of Dubuque and his master’s and doctoral degrees in choral conducting from the University of Iowa, where he studied with Don Moses. Named a

42 Southwestern Musician | September 2015

Fulbright Scholar in 1990, Hatteberg studied conducting in Berlin while pursuing research on Felix Mendelssohn’s early works.

Hatteberg is a frequent guest con-

ductor, adjudicator, and lecturer, most recently in Hungary, Austria, Korea, and Spain, as well as throughout the U.S. He founded the Louisville Chamber Choir in 2014 and is codirector of the Kentucky Ambassadors of Music, a program that affords Kentucky students the opportunity to perform and tour in Europe. He serves as Chorus Master for the Louisville Orchestra.

Hatteberg was named a University of Louisville Faculty Scholar in 2002, KMEA College/University Teacher of the Year in 2004, and was selected for the International Who’s Who in Choral Music in 2007.

Under his direction, the Cardinal Singers have performed in numerous international competitions, festivals, and symposiums. They will perform at the National NCCO Convention in November and at the ACDA Southern Division Convention in 2016. The Collegiate Chorale has also performed at numerous ACDA and NCCO conventions. They regularly perform major works with the Louisville Orchestra and Orchestra Kentucky.

ARE YOU READY? When the teacher is ready, the students will appear.

by Tim Lautzenheiser

W

hat are the attributes of a successful music educator?

Do your students respond to what they are taught or the way in which they are taught? While the answer to each is always yes, we sometimes sidestep the contextual aspect of teaching methodology. We continue to explore the various avenues of teacher preparation in hopes of finding the right combination to ensure a healthy learning experience for all students in their lifelong relationship with music.

As you continue, focus on how teachers relate to students and discover that when the teacher is ready, the students will appear.

TEACHING STYLE: POSITIVE OR NEGATIVE? Each of us would like to think our students perceive us to be positive teachers. By definition, positive is characterized by being certain and affirmative or by moving forward (not to be confused with happy). Still, there are certainly occasions when things aren’t moving in a forward direction and the situation calls for some serious candor of an uncomfortable nature. Perhaps we can better understand our style by determining if we enjoy the process of teaching music—we must see it as an opportunity to bring our students to a higher level of creative understanding and to expose them to a universal language certain to benefit every aspect of their lives.

A negative style is marked by reaching a given goal at any cost, rationalizing that the ends justify the means. This approach often fosters an environment of stress, tension, defensive or survivalmode behavior, and (in most cases) it is counterproductive to what we are trying to achieve.

MOTIVATION: BY FEAR OR DESIRE? Is it the fear of failure or the desire for success that motivates us to excellence? Fear is the quickest way to move a person forward.

We are creatures of survival and we don’t elevate to a higher level of behavior until we know our survival is ensured. Therefore any kind of threat will stimulate an action as we work to preserve our very existence. The ever-popular “If you don’t do this, I’ll do that” approach generates a quick response from students. From an outside perspective it can appear to be the most effective way to lead an individual or group to an established goal (as long as you

believe that those who take the path of least resistance and quit under these circumstances weren’t worth retaining). However, the long-term effects are not equally as effective. If the student chooses to remain in the program following a situation where fear of failure is the dominant motivational theme, then a behavior– habit has been established that will require a more extreme fear to achieve the next level of performance. It can be a one-way street to program destruction at the cost of creative artistry.

Alternatively, the desire for success does not guarantee such instant reactions. It requires a much longer and more patient style of mentoring. The sense of high-level accomplishment is often set aside in favor of rest and relaxation. Entropy is a not only a law of nature, but also a predictable human pattern. Ultimately we all want our students to study, practice, and perform because of their innate love of music. This will happen only when the student desires to take on the responsibility with the understanding it has a personal benefit to his or her life.

Master educators use a healthy dose of desire with a judicious amount of fear as they navigate the endless musical journey with their students. Depending on the relationship that has been developed, the application of these two motivational tools can be effectively administered at the appropriate time, resulting in a more productive work ethic demonstrated by the students—in this balance lies the key to quality music education and performance.

QUIETING OUR EGO Is our quest for excellence in music a foundation of our teaching mission or is it the means by which we feed our personal and professional growth? Are we capable of rising above our individual needs to pursue a much higher goal? Do we give unconditionally, without expecting or demanding anything in return?

Can we get beyond our own ego and realize that we are not at the center?

These are uncomfortable inquiries, and even as we ask ourselves, our ego will doubt the validity of the question itself. Our preoccupation with self is seen in every aspect of our society, and this constant tug-of-war for ownership has not escaped our world of music. Students spar over chair placement, struggle to beat out others for a seat in the top group, jockey for political Southwestern Musician | September 2015 43

Texas Lutheran University School of Music

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

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

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

Beth Bronk Director of Bands bbronk@tlu.edu

Shaaron Conoly Director of Vocal Studies sconoly@tlu.edu

Eric Daub Director of Piano Studies edaub@tlu.edu

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

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favor to become an officer, and so on. All too often, receiving a first-place rating becomes more important than making music. This misdirected priority influences the process to accordingly fit the goal.

A group of students walks off a festival stage thrilled with their performance. But when they learn they received a secondplace rating, the whole group is thrown into an emotional tailspin—tears, accusations, blame, revenge, disappointment, and a host of other negative reactions ensue.

When an ensemble experiences a sense of accomplishment in preparing the music, and they have dedicated their time and energy to achieving a new performance standard, why would one evaluator’s opinion override their joy of accomplishment?

If this is the case, the extrinsic award has become too important.

A rating should be secondary. This is not to discount the educational value in competitive forums, but the evaluation/judgment has educational worth only when it is used constructively to help inform the preparation of the next performance.

Our preoccupation with self is seen in every aspect of our society, and this constant tug-of-war for ownership has not escaped our world of music.

Outstanding educators detach themselves from the outcome. The spotlight should always be on the growth and development of the students—the pathway of maturity.

AGREE TO DISAGREE: HARMONY IS THE KEY Harmony, balance, and blend are common terms in our rehearsal vocabulary. Are they also a part of our teaching pedagogy?

Perhaps a solution to the earlier point of quieting our ego is developing the ability to agree to disagree. The results from moving forward in harmony are generally far more beneficial than the effects of struggling with the handicaps of disagreement. It is certainly important to stand up for what we believe, but when it comes at the expense of the overall welfare of the organization, we need to remember that we have the option to agree to disagree.

This doesn’t mean we give up our values, our standards, or our ethics; it simply means we support the dignity of the other party or parties, and realize when continued debate is holding back the progress of the program.

Independently we rely on energy—an individualistic source of natural power.

Interdependently we are sustained by synergy—a cooperative act that recognizes the total effect is greater than the sum of the independent parts. This extensive boost in potential shows up only when we are in a cooperative mode.

Rather than waiting (and wasting precious time) to find a group of people who are like-minded, we have the opportunity to immediately access synergy by agreeing to disagree, thereby establishing a sense of cooperation.

Southwestern Musician | September 2015 45

OUR MINDS LEAD US Thoughts lead to feelings.

Feelings lead to actions.

Actions lead to habits.

Habits establish character.

Character determines destiny.

The equation is an over-simplification of the programming of the mind. We take actions on our feelings; these feelings are a byproduct of our thoughts.

It seems we often wait to see what the circumstances are, and then we adjust our attitude accordingly. However the sequence should be to first believe, and then be. The longer we teach, the more we come to realize the power of our thoughts and beliefs. The ability to manifest our desired conditions is known and practiced by every great teacher. The mind leads us in the direction of our most dominant thoughts.

What do you believe is possible for your students, your program, your school, your community? Are there real limits or are there only perceived limits? Are we held captive by our self-imposed restrictions?

Of course, there is more to this than simply thinking the right thoughts. This

is not a quick fix, but it is an essential beginning to achieve the aspired goal. The next step is to do the work necessary to complete that goal.

ONE PERSON MAKES A DIFFERENCE Every person makes a difference. You make a difference! We might often question what difference it is that we’re making. When we do, we must remember that we are always either part of the problem or part of the solution.

We often become frustrated because we feel as though we are alone in our quest.

Our daily teaching schedule demands us to be multiple personalities, ranging from a fundraiser to a bus driver, and somewhere in the midst of all of it, we teach music. The never-ending list of responsibilities can be overwhelming, and as stress and pressure mounts, it is easy to retreat and rationalize with, “I’m only one person, and I can’t make a difference.” However, embracing such a notion violates the very goal for which we are striving.

Successful educators, in any facet of teaching, are the ones who see obstacles as opportunities for growth. They are not enticed by shortcut solutions but are

committed to reaching their goals and willing to invest what is necessary to achieve. Styles vary, from those who are patiently methodical, to those who are enthusiastically leading the charge with trumpets blaring. The common ground is persistence—the ability to go on resolutely regardless of any inconvenience or opposition, to continue despite any resistance.

As we examine our history, it is evident the only thing that has made a difference is one person. At some point in our lives one person, probably a music teacher for many of us, was a catalyst in helping us choose our life’s calling—music. Our teacher was ready when we appeared. Now we have the chance to return the favor. We can have a positive impact on the young people who eagerly step into our classrooms because when the teacher is ready, the students will appear.

Tim Lautzenheiser is Vice-President of the Conn-Selmer Division of Education and is a widely-known music education advocate. This article was originally published by Conn-Selmer in their Division of Education TouchPoint newsletter.

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he new school year has commenced across Texas and eager elementary music teachers are showcasing their new curriculum materials. The new products offer so many more options than we have had before. From online assessments and tablet applications to features the students can access at home, pulling it all together into a seamless plan for your classroom can be overwhelming. Great financial wealth is not likely in our profession but if we follow the lead of a popular game show, our chances of being successful in the first year of the new TEKS increases.

The 50:50: In the game, contestants narrow down the possible answers.

We can do this in our classroom. Instead of diving headfirst, expecting to use only the new materials, make them the basis for your program yet keep some of your tested and successful ideas.

Phone a Friend: Since most of us teach on an island as the sole music teacher at our campus, stay in touch with other teachers in your district or Region. You can also follow blogs, join Facebook groups, or call your publisher’s representative for help and ideas. Schedule get-togethers with other elementary music teachers around you to network.

Ask the Audience: More aptly, this should be Engage the Audience. With so much technology available, it is possible for students to lose out on some of the tenets of early childhood music: singing, playing, creating, and movement.

Make sure each lesson includes tuneful singing and that students are up and moving, engaging in the music.

Featured Teacher This month’s featured teacher is Casey Medlin. Casey is the Elementary Chair from Region 13 and teaches at Brazos Bend Elementary in Fort Bend ISD.

Centers can seem like a daunting task, but don’t shy away! Your students will love you for it.— Casey Medlin 50 Southwestern Musician | September 2015

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

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

November 16—TMEA scholarship online application deadline.

December 31—TMEA mail/fax convention preregistration deadline.

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

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Casey shared her policies and procedures for using centers in the elementary music classroom during a Region 17 workshop.

Implementing Music Centers Why: Music centers are great for a few reasons. The kids love them.

Administrators love the cooperative learning. They are great for assessments. And they can offer your voice some muchneeded rest. Win, win, win!

Who: I use centers for grades 2–5. I plan the same activities for each grade level.

However, each grade’s activity is a little more challenging. For example, if the center is for reading rhythms, the younger students would have quarter- and eighthnote patterns whereas the older students would have sixteenth notes.

What: Many of the activities I use in my centers are ideas I learned from other music teachers. Everything I use I found on the Internet. Pinterest and TeachersPayTeachers are full of fun, engaging, ready-made centers. Here are a few of my favorites: • Dice games • Busted!

• Color by Note • Note Knacks • Make music symbols out of pipe cleaners • Music Center Kits by Veronica Harper • Reproducible Song Stories from Themes and Variations • File Folder Games by RayLee’s Schoolhouse on TeachersPayTeachers • iPads • Rhythm War • Clothes Pin Games You can also visit my Pinterest page to find more center ideas to incorporate: www.pinterest.com/cmedlin/ classroom-stuff/ When: I always plan for centers at least once per grading period, preferably twice.

The students look forward to them, often asking when they’ll get to have centers again. I’m on a five-day rotation, so for an entire class period for the entire week the students are in centers.

How: No two music teachers run their centers exactly the same. It’s important for you to figure out what works best for

you and your students. Some teachers save time at the end of every music class for the students to complete a single center. After a few weeks, the students would have rotated through all the centers. Other teachers use an entire class period and run eight or more centers simultaneously.

I structure centers slightly differently. I have only three activities planned. (I have enough duplicates of each activity so that four groups can work on the same activity at the same time.) One activity focuses on rhythms—reading, writing, or playing.

The second focuses on melodies—again, reading, writing, or playing. The last is usually a game. The centers rotate around the room, not the students. Each center lasts about 10 minutes—enough time to complete the activity, but not enough time to become restless. By the end of the class period, every group has had a turn to complete all three activities.

Plan to spend the first 10 minutes or so explaining how to complete each center. It’s always a good idea to do a few examples on the board before letting your students begin. Also, make sure to go over your expectations: voice levels, movement around the classroom, participation, and what to do if the students finish early.

Make sure that the activities you’ve chosen provide a review. Music centers are not a time to introduce new objectives. Also, make sure you are monitoring the students as they are working. My students are required to show me when they’ve finished an activity so I know they weren’t wasting time.

I hope you’ve found this information to be helpful. Centers can seem like a daunting task, but don’t shy away! Figure out what works (and what doesn’t) and try again! Your students will love you for it.

2016 Clinic/Convention Update Make your plans now to attend the 2016 Clinic/Convention. The elementary 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. Each is certain to offer us new ideas and great information that can be utilized the day we return to our classrooms. If you haven’t already, be sure to renew your membership and preregister for the convention.

Sue Mueller Featured Clinician Sue Mueller, Associate Professor of Music Education at University of Nevada/Las Vegas, taught K–5 music for the Clark County School District in Las Vegas for 27 years and now serves as the Chair of the Department of Music at the University of Nevada/Las Vegas. She is an active presenter for local chapters, state, and national AOSA and NAfME conferences, as well as Canadian chapters and conferences. Mueller teaches OrffSchulwerk Levels II and III, basic pedagogy Orff-Schulwerk Teacher Education courses at UNLV, Samford University, and Stetson University and has served on the National Board of Trustees for the American Orff-Schulwerk Association as Region II Representative, National Conference Chair (2002, 2010, 2016), Vice-President, and President. Mueller has two publications through Beatin’

Southwestern Musician | September 2015 53

Path: Simply Speaking and Simply Beginning.

Mueller has a bachelor’s and master’s degree in music as well as Orff-Schulwerk Level I–III master class certification.

Lamar Robertson Featured Clinician While he has taught at the kindergarten through the university levels, Lamar Robertson prefers the elementary grades. He earned degrees in music education and in administration from

McNeese State University and a degree from George Peabody College for Teachers in Nashville. He also has certificates from the American Conservatory in Fontainebleau, France, and from the Kodály Musical Training Institute, Wellesley, Massachusetts.

Robertson has experience conducting church choirs, and is the founder and musical director (now retired) of the Louisiana Choral Foundation. He has also taught summer courses and workshops throughout the U.S. and Taiwan, specializing in the Kodály philosophy of music education. Robertson is coauthor of An American Methodology, Yearly Plans, the My Music Book series, and most recently, Directions to Literacy.

He has taken an active part in local, state, and national music organizations, having served on the boards of each in which he was a member.

Most recently, Robertson retired from full-time teaching elementary school but continues to be active directing church and community choirs and teaching workshops.

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2016 Convention Volunteer To volunteer to be a presider or office helper or to work registration, go to www.tmea.org/elementaryvolunteer and complete the online volunteer form or email me at julis@angletonisd.net. The more volunteers we have, the more successful our convention is for everyone!

MATCH Conference If you have not already done so, check out the Facebook page for MATCH, the Music and Technology Conference of Houston. Regions 3, 13, 17, 19, 23, and 27 will be hosting this very exciting Region Workshop on October 10 at Wolman Elementary in Katy ISD from 8 A.M. to 4:30 P.M. This workshop will be the first annual Music and Technology Conference of Houston (MATCH). The day will be dedicated to integrating technology into elementary music. There are many sessions from which to choose, awesome exhibitors, great food, and of course, door prizes. The cost for TMEA members is $20 and is $35 for non-members. For more information, go to the MATCH Facebook page.

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Two of the leading international experts on this system—Dr. Micheál Houlahan and Dr. Philip Tacka —are on our faculty. Students in our program will be eligible to apply for Kodály Certification through the Organization of American Kodály Educators.

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Top Ten Skills Children Learn from the Arts Creativity Confidence

Problem-Solving Perseverance

Focus Nonverbal Communication

Receiving Constructive Feedback Collaboration

Dedication Accountability Go to www.tmea.org/advocacymaterials to download a PDF of this page, the source article, and many other valuable materials to help you in your role as a music education advocate.

56 Southwestern Musician | September 2015

Source: â&#x20AC;&#x153;Top Ten Skills Children Learn from the Artsâ&#x20AC;?

by Valerie Strauss. The Washington Post, 1/22/03.

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THIS IS THE HOUSE INNOVATION BUILT. The University of Houston is shaping the cultural landscape.

Welcome to the Powerhouse.

MOORES SCHOOL OF MUSIC Audition Information: uh.edu/music

COLLEGE NOTES

B Y

M I C H E L E

H E N R Y

Prepare to teach every child

T

he preparation of future music educators demands instruction in a wide variety of subjects. College and university faculty responsible for creating degree plans and curricula for those entering the music education field must balance our students’ needs for a general education, a musical education, and an education in human learning and development. As we have experienced over the past several years, the movement toward decreasing the number of hours in our degrees has caused us to make some difficult decisions regarding what to keep and what to eliminate.

Within the realm of education topics to be covered, instructing those with special needs is a particular area of concern. Traditionally, if any instruction was provided in this area, it came from our schools or colleges of education, and it was delivered in a generalized form. Instruction for teaching those with special needs has not typically been provided within the music or music education curriculum. Although a small number of Texas music education programs offer a course in teaching music to children with special needs, practically none require a course as a part of the mandatory music education curriculum. With an ever-increasing population of students with special needs (Adamek and Darrow, 2010), perhaps it is time to re-examine this area within our music teacher preparation programs.

TMEA is committed to helping music educators—those currently in the field and those in teacher preparation programs—meet the educational needs of all students in their classrooms, including those with special needs. Over the past 10 years, we have steadily increased the number of convention clinic

With an ever-increasing population of students with special needs, perhaps it is time to re-examine this area within our music teacher preparation programs.

58 Southwestern Musician | September 2015

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

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

October 9—College Division Fall Conference in Austin.

October 15—Call for Papers deadline.

November 16—TMEA scholarship online application deadline.

December 1—College Division Essay and Composition Contest deadlines.

December 31—TMEA mail/fax convention preregistration deadline.

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

offerings related to serving the special needs population. In 2013, we provided more sessions on this topic than any other music convention in the country (VanWeelden and Meehan, 2015), and we offered even more sessions on this topic in 2014 and 2015. One of the College Division featured clinicians at the 2016 TMEA Clinic/Convention is a nationally recognized leader in teaching music to children with special needs. Please make time in your schedule to attend these sessions (our second featured clinician will be included in next monthâ&#x20AC;&#x2122;s issue).

In music education, she has served on the editorials boards of JRME, Update: Applications of Research in Music Education, General Music Today, Bulletin for the Council on Research in Music Education, Reviews of Research in Human Learning and Music, and Florida Music Director. She recently served as Chair of the Commission on Music and Special Education for the International Society for Music Education.

During the 2016 TMEA Clinic/ Convention, Darrow will present sessions on teaching students with behavior dis-

orders, learning disabilities, and ADHD, and on creating an inclusive music classroom. A session on designing instruction to meet individual needs will be presented in collaboration with Texasâ&#x20AC;&#x2122;s own Judith Jellison, Mary D. Bold Regents Professor in Music at the UT/Austin.

Committee on Learners with Special Needs In addition to providing valuable training through clinic sessions, TMEA is also creating a Committee on Learners with

SACRED MUSIC AT OLLU

Alice-Ann Darrow Featured Clinician Alice-Ann Darrow, PhD, MT-BC, is Irvin Cooper Professor of Music in the College of Music at Florida State University. Before teaching at Florida State University, she taught at the University of Kansas for 20 years, where she held courtesy appointments in the Departments of Speech and Hearing and Special Education and also worked with students at the Kansas School for the Deaf in Olathe, Kansas. She has been the recipient of over 25 federal, corporate, or university grants related to music and deafness and in inclusive education. Other areas of research and clinical specialization include nonverbal communication in the classroom, and integrated groups in clinical practice. She is co-author of Music in Special Education and Music Therapy and Geriatric Populations and is editor of Introduction to Approaches in Music Therapy.

She has been the recipient of research and clinical practice awards from the American Music Therapy Association.

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

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

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

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Special Needs. Although this committee will be housed in the College Division, it will have representation from each of the TMEA divisions. The committee’s charge will be to identify areas of need for our membership in serving the special needs population and to recommend ways in which TMEA can provide support and education in these areas. If you have a particular interest in this topic, would like to make a recommendation to the committee, or would be interested in serving on the committee, please email Michele_Henry@baylor.edu to express your interest.

College Division Fall Conference The annual College Division Fall Conference will be held Friday, October 9, from 10:00 A.M. to 3:00 P.M. at the TMEA office in Austin. We will be discussing best practices for our music education programs, including preparing teachers to meet the needs of special learners, TExES certification test preparation, field supervision, and community engagement. We will also address changes to the College Fair event and receive a preview of the new facilities and format for the 2016 TMEA Clinic/Convention. We hope all college faculty members will plan to attend. Please email Michele_Henry@ baylor.edu by October 1 to register your attendance at the conference as we need an accurate count.

Call for Papers: October 15 The Research Committee is pleased to announce the call for proposals for presentations at the TMEA Clinic/Convention Research Poster Session. The committee invites submissions from members in all TMEA divisions, including college students. Selected authors present their research during the annual TMEA Clinic/Convention.

Go to www.tmea.org/papers to learn more about how to submit.

www.tmea.org/papers Renew and Encourage Your Colleagues Now is the time to renew your TMEA membership, and when you do, consider purchasing liability insurance. While many assume this coverage is needed only

for teachers of younger students, it applies to us as well, and at the low rate of $30 annually, it’s truly an affordable option.

If there are faculty on your campus who are not TMEA members, please encourage them to join. It’s time for us to grow our Division and our representation in this organization. Email your colleagues and remind them during a department meeting about how great this organization is and how they can be a significant part of supporting the work TMEA does on behalf of all music educators and students.

References Adamek, M. & Darrow, A. (2010). Music in Special Education. Silver Spring, MD: American Music Therapy Association.

VanWeelden, K. & Meehan, L. (2015).

Teaching children with disabilities: Preparation through state music educators association conference. UPDATE: Applications of Research in Music Education.

DOI: 10.1177/8755123315582069

60 Southwestern Musician | September 2015

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