October 2021 Southwestern Musician

OCTOBER 2021

Seriously Fun EDUCATION

Where music, technology, and creativity converge.

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VOLUME 90 ■ ISSUE 3 OCTOBER 2021

CONTENTS FEATURES

Q&A for Music Teachers . . . . . . . . . . . . . . . . . . . . . .14 by tmea members

Learn about colleagues’ go-to technology solutions, community advocacy, and teaching culture and history through music.

Recruiting & Retaining Today’s Students . . . . . . 28 by amanda bl ackstone

From accuracy to appeal, your program’s digital presence is a critical part of enticing students to join and motivating them to stay.

Moving Forward and Saving Time with Technology . . . . . . . . . . . . . . . . . . . . . . . 39 b y m a r k pa l o m b o

Having learned essential technologies to support instruction last year, now we can move forward by examining how that technology can serve us better.

Social Emotional Learning in the Elementary Music Classroom . . . . . . . . . . . . . . . . . 50 by analisa byrd

Get empowered with easy ways to incorporate SEL into your music lessons, learn how you’re already providing SEL strategies, and become a model for your school in the process.

28 COLUMNS President John Carroll . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Executive Director Robert Floyd . . . . . . . . . . . . . . . . . . 8 Band Vice-President Dana Pradervand . . . . . . . . . . 21 Orchestra Vice-President Ann G . Smith . . . . . . . . . . 33 Vocal Vice-President Jesse Cannon II . . . . . . . . . . . 47

UPDATES TMEA Offers Undergraduate and Graduate Scholarships . . . . . . . .2

Elementary Vice-President Katherine Johns . . . . .56 College Vice-President Paul Sikes . . . . . . . . . . . . . . .60

TMEA’s Online Teaching Resources. . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 Students Cannot Be Pulled from Music Class for Tutoring . . . . . . . 11 Attend the 2022 TMEA Clinic/Convention . . . . . . . . . . . . . . . . . . . . . .12 Invest in Our Future: Start a TFME Chapter. . . . . . . . . . . . . . . . . . . . 22 Tell Us What Works for You . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .31

ON THE COVER: Marcus Herrera, now a senior, performs with the Harlandale HS Mariachi Telpocame for the 2019 Arts Education Day at the Capitol. Photo by Karen Cross.

Southwestern Musician | October 2021

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OFFICIAL PUBLICATION OF TEXAS MUSIC EDUCATORS ASSOCIATION

TMEA Offers Undergraduate and Graduate Scholarships

Editor-in-Chief: Robert Floyd

To be eligible, complete all application requirements by November 1.

Managing Editor: Karen Cross

TMEA is pleased to offer several scholarships each year for undergraduate and graduate study in Texas.

rfloyd@tmea.org | 512-452-0710, ext. 101

kcross@tmea.org | 512-452-0710, ext. 107

TMEA Executive Board President: John Carroll, Permian HS

john.carroll@ectorcountyisd.org | 432-553-2780 1800 East 42nd Street, Odessa, 79762

President-Elect: Michael Stringer, Irving ISD

presidentelect@tmea.org | 972-600-5088 3511 Lake Champlain Drive, Arlington, 76016

Past-President: Brian Coatney, Wylie ISD

Brian.Coatney@wylieisd.net | 972-429-3111 2550 West FM 544, Wylie, 75098

Band Vice-President: Dana Pradervand, University of Houston pradervandd@yahoo.com | 713-743-3627 8226 Lakeshore Villa Drive, Humble, 77346

Orchestra Vice-President: Ann G. Smith, Plano East Senior HS ann.smith@pisd.edu | 469-752-9237 3000 Los Rios Boulevard, Plano, 75074

Vocal Vice-President: Jesse Cannon II, Duncanville HS

vocalvp@tmea.org | 972-708-3764 900 West Camp Wisdom Road, Duncanville, 75116

Elementary Vice-President: Katherine Johns, Floresville South Elementary kjohns@fisd.us | 281-370-4040 116 Oaklawn Drive, Floresville, 78114

College Vice-President: Paul Sikes, Grapevine-Colleyville ISD paul.sikes@gcisd.net | 817-251-5637 8554 Kensington Court, North Richland Hills, 76182

www.tmea.org/scholarships Graduating Senior Scholarships • Bill Cormack Scholarship: $3,000/year for up to five years.

• Past-Presidents Memorial Scholarship: $2,500/year for up to five years.

• Past-Presidents Scholarship: $2,500/year for up to five years.

• Executive Board Scholarship: $2,500/year for up to five years.

• One-year scholarships: $2,500 for one year only.

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

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

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

TMEA Staff Executive Director: Robert Floyd | rfloyd@tmea.org Deputy Director: Frank Coachman | fcoachman@tmea.org Administrative Director: Kay Vanlandingham | kvanlandingham@tmea.org Advertising/Exhibits Manager: Zachary Gersch | zgersch@tmea.org Membership Manager: Susan Daugherty | susand@tmea.org Communications Manager: Karen Cross | kcross@tmea.org Financial Manager: Cristin Gaffney | cgaffney@tmea.org Information Technologist: Andrew Denman-Tidline | adenman@tmea.org Administrative Assistant: Rita Ellinger | rellinger@tmea.org

TMEA Office Mailing Address: P.O. Box 140465, Austin, 78714-0465 Physical Address: 7900 Centre Park Drive, Austin, 78754 Website: www.tmea.org | Phone: 512-452-0710 Office Hours: Monday–Friday, 8:30 a .m.– 4:30 p.m.

Go to www.tmea.org/scholarships

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

Subscription rates: One Year – $20; Single copies $3.00. Periodical postage paid at Austin, TX, and additional mailing offices. POSTMASTER: Send address changes to Southwestern Musician, P.O. Box 140465, 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 1941–47 by Dr. Stella Owsley.

Incorporated in 1948 as National by Harlan-Bell P ­ ublishers, Inc. Published 1947–54 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 Educators Association, whose official publication it has been since 1938. In 1954, the two magazines were merged using the name Southwestern Musician combined with the Texas Music Educator under the editorship of D.O. Wiley, who continued to serve as editor until his retirement in 1963. At that time ownership of both magazines was assumed by TMEA. In August 2004 the TMEA Executive Board changed the name of the publication to Southwestern Musician.

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Southwestern Musician | October 2021

Educate Inspire Create

ttu.edu/music @ttuschoolofmusic @ttuschoolofmusic

TMEA President JOHN CARROLL

TMEA Opportunities Every music student is influenced by a director who cares deeply for them, who is teaching them life lessons, who is presenting an assortment of genres of music and new musical concepts.

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y the time this issue prints, I hope we are all appreciating a slight cooling of the weather and enjoying the relationships we are developing with our students, whether elementary, secondary, or college. We’ve likely set goals for those students and are supporting their work in accomplishing them. I’ve mentioned before how, at this time of year, excitement can easily wane, but I also know that with the professionalism inherent in Texas music educators, you are keeping the energy and joy of making music present for your students. I thank you for that.

TMEA Website I would like to encourage you to become more familiar with the resources available on the TMEA website. Reviewing a full year of traffic to our site, we can see that, by far, the pages visited most are within our Jobs and Auditions sections. Of course, at some point each year (hopefully by now), each of us goes to the website to renew our membership, and we’ve likely returned there when we needed an answer related to procedures or entry requirements for competitive events.

While the website is the place of record for many of our policies and procedures, if you ever have any questions regarding the interpretation of TMEA procedures, please reach out to your division Vice-President or me, our President-Elect, or immediate Past-President. Each of us is here to help clarify existing policies and procedures, both in letter and spirit. For less-experienced teachers, the procedures that guide our programs can be a bit overwhelming or confusing. Please never hesitate to

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Southwestern Musician | October 2021

MARK YOUR CALENDAR check www.tmea .org for updates

October—Renew your membership and register for the convention.

October 7, 6 a.m. CT—TMEA convention housing reservation system opens.

November 1—TMEA scholarship online application deadline.

November 1—TMEA Elementary grant application deadline.

January 20—TMEA email/mail convention registration deadline.

January 20—TMEA convention online early registration deadline.

February 9–12—TMEA Clinic/Convention in San Antonio.

In order to further support elementary music teachers in Texas, Hal Leonard is proud to extend your $800 TMEA Elementary Grant by providing an additional $200 in funding!

The grant can be used by elementary music teachers (PK-5) to purchase music, music equipment, instruments, instructional software, and other music educational materials for use during this school year. We are proud to offer our support!

Learn more at: halleonard.com/tmeaelementarygrant

ask. Additionally, your Region officers are dedicated and knowledgeable members and they can help you as well. If you have a mentor—whether officially through TMEA’s mentoring network or otherwise—you can always look to them for guidance.

There are so many other resources on the website. As I mentioned last month, I hope you will avail yourself of the resources found in our Q&A for Music Teachers at www.tmea.org/q&a. You’ll find answers to questions on several topics that can be especially helpful, given they come from our colleagues around the state.

Please respond to the emails requesting answers to questions, and perhaps submit questions of your own for consideration.

The next time you go to our website, I encourage you to take a few moments and review the contents on our About Us page (www.tmea.org/about) and our TMEA Policies page (www.tmea.org/ about/policies). These pages include guiding statements that define our association’s mission and commitment to all students as well as the responsibilities we each have as

members. It’s always a beneficial exercise to consider our foundation and reexamine our own practices.

Our website contains over 700 pages, ranging from policies, job boards, and programs (such as Texas Music Scholars and Texas Future Music Educators), to teaching resources (in my opinion, one of the most underutilized areas of our website), and much more. I find it a user-friendly website, designed well, and updated on a regular basis. Hint: if you go to our site and can’t find what you’re looking for, use the search feature (click the magnifying glass at the top-right of the site, or if you’re on mobile, on the menu).

Clinic/Convention Happenings Be sure to read about our 2022 AllState Conductors in the Band, Orchestra, and Vocal Vice-Presidents’ columns this month. Through their rehearsals and performances, these in-demand conductors will lead our secondary All-State students in an experience they’ll never forget.

They’ll likely present musical concepts in ways some students may never have con-

sidered. Many students will study music they’ve never performed before and that would never be programmed in their home ensemble. These conductors will also indirectly impact the lives of these musicians’ families, as the family members delight in the pride and joy shown on the students’ faces after they release that final note of their 2022 All-State concert!

Families will then listen for days as their children convey the fun experiences had with newfound friends and the inspiration found in making music with so many top musicians from across the state. Parents will learn about new life lessons their children gained from these conductors, and in some cases, how they’re now motivated to a career in music education.

Whether All-Staters or not, every music student is influenced by a director who cares deeply for them, who is teaching them life lessons, who is presenting an assortment of genres of music and new musical concepts. These are the everyday, in-thetrenches teachers who greet their students as they arrive to class. While every day in this classroom can’t be a peak experience,

www.tmea.org/teaching-resources TMEA offers a variety of resources to support your teaching. From professional videos and print-ready advocacy materials to details on how the law protects music education for all students, TMEA strives to offer you easy access to this valuable content.

Resources Repository

Q&A for Music Teachers

Music TEKS

Answers to everyday teaching and program administration questions.

Access to the K–12 music TEKS every teacher is required to cover.

Connections

Region Workshops

Advocacy

Series of online meetings where TMEA members share ideas.

Check here for the schedule of workshops hosted across the state.

Guidance and resources to help you be an effective advocate.

Law & Policy

Mentoring Network

Learn how music education for all students is protected in law.

Whether you can serve as a mentor or need one, enroll here.

Searchable source for online music instruction resources.

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Southwestern Musician | October 2021

Convention Our convention provides more resources than any other professional development.

students know their teachers support them and want only the best for them. Isn’t our profession wonderful? Texas music educators are blessings to their students every day! I hope I may never fail to recognize the quality of our local teachers. We cherish our All-State Conductors, but we also treasure our students’ everyday teachers for the influences they are.

TMEA Divisions Sometimes, our Band, Orchestra, and Vocal Divisions get a bit more attention than Elementary and College. However, even without the showcase of All-State ensembles, be assured that our Elementary and College Divisions are invaluable to all students, and thus, to TMEA. For years, I have thought that our secondary programs would be nothing without a caring elementary music teacher along the way.

Additionally, if you have never attended an Elementary Division clinic at a TMEA convention, you don’t know what you’re missing! They are fun, exciting, and educational. We can never underestimate the value of Texas’s elementary music teachers. Did you know that the Elementary Division is the second-largest division in our association? I am always in awe of the dedication of these master educators who teach and prepare meaningful material for their youngsters.

I used to say that if these teachers inspire a love of music in their students, they are doing a great job. But I’m afraid this idea was a bit short-sighted at the time. Not only do these students learn to love music, but they also learn fundamental musical concepts—building blocks for their future.

For elementary students, music class is a time of joyful learning. Thanks go to all our incredible elementary music teachers who often do not receive the spotlight or respect they so richly deserve!

Similarly, we could not have the profession we enjoy without those in our College Division, and yet I fear it may also not receive due respect. Our College Division offers a myriad of topics within their division’s program during our annual convention. While they offer clinics directed at college faculty who are preparing future music educators, this division is the host of topics that apply to multiple divisions.

In reviewing their program for 2022, I know they have many great clinics in the works! Have you ever attended the College Division Research Poster Session at our

annual event? If not, look for it in the 2022 schedule and take a moment to learn more about the latest research results specific to our discipline. This month, the College Division will host its annual fall conference, where members come together to discuss issues relevant to educator preparation in music, teacher certification, and research in the field.

Thanks go to all in our College Division who are focused on providing the best preparation for tomorrow’s music educators and to college student members who look forward to joining this incredible profession!

Clinic/Convention and Housing I surely hope you are making plans to attend the 2022 Clinic/Convention in San

Antonio February 9–12. You can learn more at www.tmea.org/convention. Know that TMEA’s official housing reservation system opens October 7. Traditionally, it has been a mad rush to get a hotel reservation, and they do indeed fill quickly. If you want to be close to the convention center, my advice is to not procrastinate.

I also encourage you to communicate as soon as possible with your administrators about attending the Clinic/Convention.

Submitting these requests early is always better than offering a last-minute surprise.

While it will be a few more months before we are together to celebrate music and learn more about how to best inspire our students, I hope you are finding joy in sharing your love of music with your students!

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TMEA Distinguished Administrator Award Through this recognition program, TMEA has the opportunity at the state level to thank these individuals for their dedication and support. At the local level, this offers you another opportunity to share your success story with the community.

Nominate your outstanding campus or district upper-level school administrator by completing an online nomination.

www.tmea.org/adminaward

Get Ready for the 2022 Convention!

October 7, 6 a.m. CT Convention Housing Opens January 20 Email/Mail Registration Ends January 20 Early Online Registration Ends Southwestern Musician | October 2021

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TMEA Executive Director ROBERT FLOYD

What You Do Matters No teacher on your campus has the opportunity to touch kids’ lives in a more positive way than you as a music educator.

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s many of you are soon to begin the second six weeks of school, I imagine you would be hard-pressed to say that the start of this school year, anticipated to be post-COVID, is what you expected or that it reflects the beginning you had eagerly anticipated. In my September column, I shared sentiments of Scott Edgar, noted SEL authority, that the socialization of both teachers and students would take time to come back as we all return to a face-to-face environment. Edgar also warned that there would be lots of anxiety and uncertainty by both teachers and students, and we must respect and accept that.

Of course, post-COVID is a misnomer at this time when we are battling the spread of the Delta variant in our state and nation. It is also a time when your spirit, dedication, and fortitude may be waning, and you might be struggling to step in front of your students each day to present this wonderful imagery of joy and gratification for your students and achieve your goal of touching their lives through music. It may be a challenge to present this usual optimistic image as your district or campus may have just shut down for an undetermined number of days, and the morale of teachers and students is not what you likely anticipated it would be at this point in the 2021–22 school year.

By now you might be thinking I would lighten up, and I do understand that. My heart goes out to you. This is not what you signed up for when you worked so hard and invested so much to earn the right to teach and share music with students as your life’s career. My August column was entitled “The Small Things Matter” and shared suggestions for a checklist for improving everything from your teaching pedagogy

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Southwestern Musician | October 2021

MARK YOUR CALENDAR check www.tmea .org for updates

October—Renew your membership and register for the convention.

October 7, 6 a.m. CT—TMEA convention housing reservation system opens.

November 1—TMEA scholarship online application deadline.

November 1—TMEA Elementary grant application deadline.

January 20—TMEA email/mail convention registration deadline.

January 20—TMEA convention online early registration deadline.

February 9–12—TMEA Clinic/Convention in San Antonio.

to personal skills for building a classroom and program based on joy and positivity, but that was before COVID reared its ugly head—again!

Now more than ever, we need to dig deep into the core of our teaching philosophy and be reassured and reminded of the importance of what we do. As I listened to the August 25 House Public Education Committee hearing during the second special session, members were discussing and taking testimony on all the education bills Governor Abbott had placed on the call. They ranged from the bill limiting transgender students to competing in UIL sports based on their birth certificate gender to the social studies bill on critical race theory. Each testifier, whether for or against, attempted to make their case that their position was in the best interest of students and explain how they touched children’s lives in a positive way, setting them up for success.

Members of the committee implored Commissioner of Education Mike Morath to tell them what they could do through statute to improve the learning environment, meet the social and emotional needs of the 5.4 million Texas public school stu-

dents, and begin to turn the tide of learning delay most had experienced due to the pandemic this past and now current school year. While the commissioner shared several steps that have been taken to address their concerns, the reality is that there is no quick fix.

So what do we do in the meantime? Now more than ever each of you should remind yourself that no teacher on your campus has the opportunity to touch kids’ lives in a more positive way than you as a music educator. And you have proof. In the early days it was notes and cards, then it was emails, and now it is social media. It may be a verbal thank-you by a student passing

Don’t Just Play.

in the hall, a note or email from a parent, or in most instances, a thank-you from a former student when you least expected it, from someone you might not have thought about in years. After 28 years out of the classroom I got my most recent contact just three weeks ago. It was an email from a student in our 1973 Honor Band, sharing how music touched her life and asking for recordings and pictures of those early bands so she could build a Facebook presence. Many of those students still keep in touch with each other, one of whom is composer Frank Ticheli. That was 47 years ago!

I must share an excerpt from a

Update Your Record • Renew Membership Register for the Convention • Get Liability Coverage

https://my.tmea.org/update

PERFORM AT YOUR HIGHEST LEVEL.

Take your musicianship to new levels through the continuous study of theory, practice, and performance.

AUDITION DATES Saturday, December 11, 2021 Saturday, January 29, 2022 Saturday, February 5, 2022 (Virtual) Saturday, February 12, 2022 Application Deadline: December 1 Apply at ithaca.edu/music/admission.

INFORMATION SESSIONS Learn more about the School of Music either in-person or from the comfort of your home! Sessions offered multiple times each week.  ithaca.edu/music | music@ithaca.edu

Southwestern Musician | October 2021

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BAY L OR U N I V E R SIT Y SCHOOL OF MUSIC The Baylor University School of Music provides transformational experiences that prepare students for careers in music. Our students thrive in a Christian environment characterized by a nurturing resident faculty, an unwavering pursuit of musical excellence, a global perspective, a dedication to service and a devotion to faith. They investigate the rich musical and cultural heritage of the past, develop superior musical skills and knowledge in the present, and explore and create new modes of musical expression for the future.

VISIT Email our professors to schedule a sample lesson or visit Contact information available at baylor.edu/music/directory

A P P L I C AT I O N P R O C E S S 1. Complete the Baylor University application at baylor.edu/gobaylor 2. Complete and submit the School of Music application at app.getacceptd.com/baylormusic 3. Audition Subscribe to our newsletter or receive School of Music concert information and updates at baylor.edu/music/subscribe

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

F R I DAY

F R I DAY

F R I DAY

(ORGAN, PIANO and VOICE ONLY)

(NO PIANO, ORGAN or TROMBONE)

(NO BASSOON or HORN)

(NO PIANO)

S AT U R D AY

S AT U R D AY

S AT U R D AY

(NO ORGAN or TROMBONE)

(NO BASSOON, HORN or PERCUSSION)

(NO VOICE or ORGAN)

December 3, 2021

January 14, 2022

January 15, 2022

Auditions are required of all entering and transferring music majors.

For more information, visit baylor.edu/music Email Mary Sage at Mary_Sage@baylor.edu or Music_Admit@baylor.edu

FACEBOOK baylormusic

twitter @baylor_music

INSTAGRAM @baylormusic

January 28, 2022

January 29, 2022

February 4, 2022

February 19, 2022 (VIRTUAL)

letter I received in the early days of my trophy-chasing teaching career. It was written by a single-parent elementary principal whose son was a member of the band: David will never be a first band performer but was a young man dealing with anxiety and frustration that so desperately needed the involvement and support the music program gives so beautifully . . . so when you get discouraged, or whenever you are tempted to cut students, and when you are wondering if those early mornings and long days are worth it, think of the Davids whose lives you have touched and know that your efforts are truly making a difference.

Again, we must be mindful that what we do matters, and it matters for every child in our classroom whom we embrace and teach. I have always loved Dr. Tim’s statement that a student is on the team, but they are in the band, in the orchestra, or in the choir—so true! When I taught the third band in addition to the top ensemble, it made me rethink the importance of giving students such as David the attention they needed and deserved just as much as the All-State musicians in the top group. It reshaped my philosophy for the remainder of my teaching career—to offer every student in our program my best.

One of the most respected educational leaders in our state is the longtime executive director of the Texas Association of Secondary School Principals. He recently emailed me the following: I think I mentioned to you one time that I played the cello from the 6th grade through 12th grade in Andrews ISD. I still believe that was one of the best experiences I had in public school and it helped me to grow as an individual. I still stay in touch with my orchestra director on Facebook.

Archie would have begun his sixthgrade orchestra journey at least 55 years ago, and his connection with his teacher still exists—amazing! You are teaching future Archies today, as well as future legislators, education policy makers, or local school board members. The relationships you are building today will have a longlasting impact.

I know sometimes we feel we are in a thankless profession, especially in today’s contentious climate. But at an open house

back in my early days of teaching I remember a parent telling me, “You get more strokes in a week than most of us get in a career.” My recollection is she was in some kind of sales, and while highly successful, was only thanked for meeting her quotas each quarter and they may or may not have included a commission bonus. Cherish the accolades and reminders that inspire and motivate you in these continued challenging times.

I must say I am buoyed by each of you who, even in the midst of striving to rebuild your program, have such a wonderful, positive attitude toward your students and our profession in general. A teacher told me the other day that his enrollment had dropped significantly as an outcome of the pandemic, but the students remaining in

his program deserved his best efforts, and thus far teaching this semester has been a joy for him.

Your collective spirit inspires me, and those messages of appreciation in your future will be from students who are in your classroom today. I can only imagine the depth of gratitude they will share when they reflect on how, through music, you helped them survive the COVID pandemic during their school days. In the end, it is not the curriculum, the budget, the instructional materials, the facility, the administrative support, the booster club, or the socioeconomic makeup of the community that ultimately makes the difference. It is the teacher! Thank you for your commitment and service!

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Students Cannot Be Pulled from Music Class for Tutoring Enacted by HB 4545 HB 4545 was passed during the regular session and signed into law by Governor Abbott on June 16, 2021. The bill demonstrates a gesture of support by the legislature to help students overcome the learning delay experienced because of the pandemic. The primary intent of the bill was to assist students who performed below an acceptable level on STAAR in grades 3–8 or any required high school end-of-course assessment. The bill requires local ISDs to provide 30 hours of accelerated learning (i.e., tutoring) in that subject in groups of three students or fewer and at least one hour per week during this school year.

The bill does include a beneficial provision that clearly defines that this tutoring must not occur during any time that takes students away from instruction in any other foundation or enrichment subject, which includes fine arts. As stated directly in the bill, “In providing accelerated instruction . . . a district may not remove a student . . . from instruction in the foundation curriculum and enrichment curriculum

. . . or recess or other physical activity.”

Worded another way, when the fifthgrade class leaves their homeroom for music, students in need of tutoring in math or reading cannot be sent to tutoring during the music instructional time.

Here is a link to a 32-page Q&A on HB 4545: www.tmea.org/hb4545faq.

Questions 30 and 31 speak specifically to removing students from academic instruction of both foundation and enrichment subjects for tutoring.

This bill has created monumental scheduling and instructional delivery problems for ISDs. If students are already being pulled from your class for tutoring, you can share the Q&A document with your principal or call me for assistance. I will do what I can to help you. You may also reach out to accelerated.instruction@tea.texas.gov with specific questions.

As a reminder, students in grades K–5 are required to receive TEKS-based instruction in music, and students in grades 6–8 are required to take at least one TEKS-based fine arts course during the three-year period.

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Southwestern Musician | October 2021 11

2022 TMEA Clinic/Convention Fe b r u a r y 9 –12 • S a n A nto n i o W W W.T M E A . O R G / C O N V E N T I O N

Register Today!

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Our Convention Is the Best Place to Learn!

View a list of clinics and clinicians at www.tmea.org/2022clinics

Southwestern Musician | October 2021 13

Thanks go to TMEA members who offered responses to the following questions. Go to www.tmea.org/q&a to view additional answers to these and other questions or to suggest a question for a future issue.

What’s been most effective when advocating for your program (or music education overall) in your community?

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The more opportunities the community has to see us, the more support we get. Our jazz ensemble plays concerts for nursing homes, daycares, our elementary campus, and the community. We also use small chamber ensembles that perform throughout the year. Our drumline periodically plays for our elementary campus as students are getting out of cars before school. —Josh King, Beckville HS People outside the band world don’t measure success the way band people do; UIL trophies aren’t always going to impress. But kids performing well, having fun, and spreading their joy with others will grab a lot of people’s attention!

—Russell Balusek, Edna HS Offer to provide music for anything that has to do with the school board of trustees. The school board rarely gets a chance to observe the fruits of our labor, so bring it to them.

Utilize social media and local newspapers to share articles about your program and its accomplishments or community service. Publicize your performances and invite everyone in the community, not just the parents of your students.

—Kathy K. Johnson, Univ of North Texas Sometimes, advocating for your program means advocating for someone else’s program. I frequently observe football practices. Students and coaches see the interest I take in other activities. I believe this has resulted in a better interdepartmental relationship. —Jesus Perez, Cross Plains HS

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Get to know the community. In doing so, you will understand more about your students and their families, their backgrounds, and their needs. Learn which parents work in the community, especially if perhaps what they do can help serve your program in some way. Know what goes on in your community so you can determine how your program might serve the community through performances or service.

—Carolyn Ireland, Folks MS Performing freebies for the community has been the most effective. Since we are a small, country school, public performances carry the most weight.

It is important that your program is a collaborative part of the school community. Also, ensure that every time your program comes in contact with the community, there is a positive reaction. Make your program important to the school/ community by providing experiences no one else can provide.

—David Stephenson, Alamo Heights HS Music teachers do amazing work every day. It is important that parents, administrators, and the community all know about that amazing work. Every time you send out a group letter or email, include something great the students are learning and include a picture. Think of every Tweet, post, or email as a brick of support. Over time, you can build a cathedral of support for your program in your community.

—Paul Sikes, Grapevine-Colleyville ISD Our middle schoolers sing the national anthem for at least one game of each grade and each sport. This exposes them to a wide range of community members and it supports our teams and builds community within our school. The parents and coaches love it! —Karen Fincher, Ridgeview MS

•

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I join community Facebook groups so I am aware of events in the community. Then I contact that community’s event coordinator and volunteer my groups to perform for their event. I also use their Facebook pages as a forum for inviting the community to on-campus performances or to ask for donations. I take time to get to know community leaders and show them my support. —Bonnie Anderson, Miller’s Point Elementary

•

Involve families! Program music and events that sustain the cultures of the students you teach. When this happens, their families will come to support you in all kinds of ways. I teach at a dual language campus, so I make sure that my programs include a variety of languages that my students speak.

—Victor Lozada, Pecan Creek Elementary Be in the public eye, and know you need to feature only a few students. If you don’t have the players to field a group, invite some teachers (private or otherwise), alumni, or friends to help. Make sure that your principal and your feeder school principals know that you are ready for anything. Then, as the teacher, you have to be ready by selecting music for just these types of events that you can put together in a short amount of time. —Barbara Fox, Rice MS (retired)

• • • •

What technology solution do you use the most, and how do you use it to help with teaching and learning?

We use a combination of the HD-300 and the Tonal Energy app. We use AirPlay to project the Tonal Energy app, and we most often utilize the Analysis tab as it helps students connect what they are producing aurally with a visual waveform of the sound. We often analyze a rep and talk about the starts, sustains, and releases of notes. Our students really enjoy being able to see a reproduction of their performance in this form.

We also use AirPlay to project music while using forScore.

Showing music scores in this way helps students make better ensemble choices. —Craig Adams, Curtis MS We use RhythmBee for group work and SmartMusic for play along tracks and testing.

The one piece of technology that is a non-negotiable in our classroom is our metronome. We teach middle school, and their sense of tempo and ability to maintain stable tempos is still developing. They need that guidance as they learn the music. —Carolyn Ireland, Folks MS I have students record their assignment on their Chromebooks and submit them to me. If needed, they can also use their phone. —Manuel Castaneda, Meacham MS I use the Music Ace Program. It is great for teaching music concepts. —Candy Bell, West Texas Elementary

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• One of my favorite setups is to have the Harmony Director •

next to me for tuning and metronome purposes while also having scores and sheet music in the forScore app on an iPad pro. When pairing this with a Bluetooth pedal it lets me effortlessly switch between pages during rehearsal.

—Victor Lee Boswell Jr., University HS

I put all my lessons in Google Slides for each class. Students get a visual of what we are learning and it keeps me on track with the lesson. I can link a helpful YouTube video through ViewPure and just copy the link! These are all super easy if you have access to an interactive whiteboard but can also be utilized through your laptop with a projector.

—Amy Logan, West Foundation Elementary

• I have a Clevertouch board in my room and I use it every day

with the Quaver curriculum. I also created a Bitmoji classroom where I insert all kinds of fun pop-ups and lessons. The kids love it! —Jonna Evans, Sundown Elementary

• I use a Clear Touch screen for illustration, explanation, and

presentations. I also use it for student interaction and games.

I use a digital audio workstation to teach older students how to record and sample and a PA system for performances and practice. I use my tablet for grading, and since the students now have district-issued laptops, I sometimes schedule an exercise for them to work on at home or in class during centers. —Haywood Neely, Simms Elementary School

• We use Flipgrid for playing tests. Students submit and oth-

ers can see their test as if we were doing it in class, yet we don’t have to use class time to accomplish it. We also utilize musictheory.net. —Ezra Hood, Southwest HS

• Using a touch screen TV has been amazing! From dis-

playing scores to focusing on areas needing improvement to having students listen and watch themselves or others play a song, it’s been a very useful classroom tool.

—Breanna Parker, Amarillo HS

• Sight Reading Factory is my go-to! Once beginners have

enough skills to read rhythm and pitch together, I project randomized exercises on the screen and we go through them together. —Karen Fincher, Ridgeview MS

• Our district uses the Canvas learning management system.

While I came to it somewhat kicking and screaming, it really was worth the time to learn. All our homework, lists of part assignments, and more are on it. I put links to videos and other resources that review the materials covered in class.

This helps a lot with students who need “teacher copies” of notes as part of their IEP. We have online class discussions, too, which seems to suit the more introverted students better than a big discussion in class. Whether Canvas, Google Classroom, or whatever your district supports, I’d encourage learning how to make it work for you and your students.

—Mark Rohwer, Flower Mound HS

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• •

•

How do you help students learn more about the history and culture of the music and its composer?

•

Instead of relying solely on my knowledge, I reach out to other colleagues and ethnomusicologists who are familiar with more multicultural aspects of music. When I take this approach, I get to learn new aspects that are meaningful, which in turn allows me to educate my students to a fuller degree. —Victor Lee Boswell Jr., University HS There is so much great music of different cultures and music composed by BIPOC composers available to us (and much of it has been there all along). I typically present music based on ability and the fit for our band’s instrumentation. When teaching about other cultures through a variety of music, I emphasize the historical significance or composer’s backstory to help students make an emotional connection with the piece and encourage them to play beyond the notes and rhythms on the page. —Jesus Perez, Cross Plains HS Teaching at the elementary level gives me unique opportunities to represent students’ cultures through folk music. One of the best ways to introduce students to other cultures is to hear about the cultures within our classroom. I often ask kindergartners to share lullabies their adults sing to them. I’ve had traditional answers from “Hush Little Baby” to popular music like the Beatles’ “Blackbird” to culturally specific examples like “Arroro mi niño.” When students are the culture bearers, the lessons become more powerful and real.

—Victor Lozada, Pecan Creek Elementary

•

•

•

• Go to www.tmea.org/q&a to view more answers and to submit questions for consideration for a future issue.

18 Southwestern Musician | October 2021

Taking time to build awareness of the cultures in our community is critical for connecting with parents and administrators and younger family members who may also join our programs in the future. Representing these cultures in concert programming is my primary vehicle to build greater appreciation, but expressing appreciation for diversity inside the classroom also helps students be more comfortable being themselves and sharing within a caring and supportive environment. Encouraging students to audition for diverse ensembles in and outside our school can build bridges as well, and it helps produce the future music educators we all want to inspire. History and culture changes each year as we welcome a new mix of students. We have to remember students can teach us about their cultures and families and that their personal history is a valuable road worth exploring.

—Dominic Powell, Lady Bird Johnson MS In our Music Appreciation class, I spend a great deal of time on Music Beyond Europe. It is a dual-credit course with Galveston College. With a background in ethnomusicology, I bring in instruments from every continent and show students videos of the sounds and let them experience the instruments for themselves. I usually share how I became an ethnomusicologist: I was in grad school and had gotten a record of sub-Saharan African music and was hating it. Fr. Lawrence Njeroga came in my room, asking where I got it and explained it was a song his mother used to sing. With that, I got to hear it again with his ears, and that made all the difference in the world. Cultural connections make understanding others’ musics much easier. —Stephen F. Duncan, Galveston ISD I use Quaver Music and it has a wonderful section called “World Music.” It also has musical period units and videos to help with this. I make slide shows that highlight points from each composer’s history and the area they came from.

We get a little geography in by finding those places on the map, and I always try to find live performance pieces for any songs/composers I can to make it more “real” and interesting.

—Jonna Evans, Sundown Elementary I believe we should aim to foster musicians who have critical, developed ears and who have a frame of reference when performing works of particular styles or by various composers. Understanding a composer’s background, influences, and intent impacts the music performance, so expanding your teaching to include all of those supporting details creates stronger musicians and more passionate performances.

—Carolyn Ireland, Folks MS I tried to make sure that there was music in the folder that pulled from as many different cultures as I could find that fit the skill level of the groups. Some music from other countries is difficult for non-advanced players, and arranging for varied levels is necessary. That being said, get what you can and teach it to as many of your students as you can. Have students research composers and the country or culture you are presenting. You can also ask parents to participate. I have also simply taught music by a composer from another country, not mentioned anything until the students have played it for awhile, and then asked them about it. It’s resulted in some interesting discussions. —Barbara Fox, Rice MS (retired) 0

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DANA PRADERVAND

Lessons from a Region Band Rehearsal Watching the best music educators in our business assemble a cohesive ensemble of young musicians who have never played together, and through creative programming, produce a memorable concert in a matter of hours in rehearsal is amazing!

In Memoriam Coy Cook July 6, 1940–August 17, 2021 Kimberly Diane Flowers November 16, 1962–August 19, 2021 Alan Shinn June 7, 1954–August 29, 2021

MARK YOUR CALENDAR check www.tmea .org for updates

October—Renew your membership and register for the convention.

October 7, 6 a.m. CT—TMEA convention housing reservation system opens.

January 8—Area Band and Vocal auditions.

January 20—TMEA email/mail convention registration deadline.

January 20—TMEA convention online early registration deadline.

February 9–12—TMEA Clinic/Convention in San Antonio.

I

f there is one thing I know it is that our state provides incredible opportunities for our students to learn and achieve. Similarly, directors have a myriad of opportunities through which we can learn. One of the best vehicles and hidden gems presents itself in our Region and All-State ensemble rehearsals.

As a young director, I learned invaluable teaching methods simply by observing the rehearsals led by our Region Band clinicians. Now as a veteran director, I always pick up a new idea or strategy to utilize with my own ensembles when I serve as a Region clinician. Watching the best music educators in our business assemble a cohesive ensemble of young musicians who have never played together and, through creative programming, produce a memorable concert in a matter of hours in rehearsal is amazing! One of my favorite professional activities is to observe the first rehearsal of a Region or All-State clinic. I love to see how the clinician begins to develop a rapport with the ensemble, establish a particular rehearsal environment, and communicate their expectations and goals for the weekend. I have learned so much from simply being in the room.

Some of my most effective takeaways have centered on efficient time management, better practices for score preparation, energy and demeanor needed for long rehearsals, and realistic performance goals.

All these ideas that I have taken from watching rehearsals have made me a better teacher and a better musician. I encourage you to observe that first Region ensemble rehearsal with intention. At our TMEA Clinic/Convention in February, add at least one of the open All-State

Southwestern Musician | October 2021 21

rehearsals to your schedule and observe our All-State ensemble conductors at work. The professional development gained in simply watching a rehearsal is incomparable!

Midwest Clinic Update I hope you can attend the Midwest Clinic in Chicago in December. As usual, Texas will be well represented by many of our outstanding band programs. Make plans now to come and support our colleagues and the wonderful students as they perform at this incredible conference. For a list of performing groups, go to www. tmea.org/midwest2021.

TMEA Clinic/Convention Update By now, you’ve likely renewed your TMEA membership for this school year.

As a reminder, membership must be current to enter students into the TMEA audition process (go to www.tmea.org/renew before any deadline looms!). Convention is a short four months away, so now is also a great time to register to attend and to

take advantage of the lower fee! Beginning October 7, our discounted convention housing will be open for members. Our hotels continue to sell out quickly, so be sure to reserve early by going to www. tmea.org/housing.

While you are online registering for the convention and making housing reservations, take a moment to complete the Convention Volunteer form at www.tmea. org/bandvolunteer. We have many positions that require very little time, and it is only with your help that we can ensure our convention will be amazing!

This month, I am very excited and quite honored to announce the 2022 All-State Band Conductors. This is an impressive slate of conductors and music educators, several with Texas ties. Fun fact: the AllState Symphonic Band and Concert Band Conductors were in the same trumpet section at the 1978 Texas Tech Band Camp.

All our conductors have chosen programs of the highest caliber that will provide our students with a life-changing experience and wow our audiences!

Kevin Sedatole Symphonic Band Kevin Sedatole serves as Director of Bands, Professor of Music, and Chair of the conducting area at the Michigan State University College of Music. He serves as administrator of the entire band program, totaling over 700 students. Prior to joining MSU, Sedatole was director of bands and associate professor of conducting at Baylor University. Before his appointment at Baylor, he served as associate director of bands at the University of Texas and director of the Longhorn Band, as well as associate director of bands at the University of Michigan and at Stephen F. Austin State University.

Sedatole has conducted performances for state and national associations, and he has conducted ensembles across the United States, Europe, and Japan. Most recently he has taught courses and conducted in Germany at the Bundesakademie für musikalische Trossingen and in Japan at

Invest

in our future

Texas Future Music Educators offers students who have an interest in a music education career the support and information they need to help them prepare for their future. TFME members who preregister may attend the annual TMEA Clinic/Convention on Friday and Saturday.

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

2. Market TFME to all high school music students.

3. Submit your chapter charter and dues to TMEA.

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

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

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

22 Southwestern Musician | October 2021

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

Additionally, he served as president of the North Central division of the College Band Directors National Association.

Richard Mark Heidel Concert Band Richard Mark Heidel is Director of Bands and Professor of Music in the School of Music at the University of Iowa, where he conducts the Iowa Symphony Band, teaches graduate courses in conducting and wind literature, guides the graduate wind conducting program, and oversees all aspects of the University of Iowa band program. Ensembles under Heidel’s direction have performed at national, regional, and state conferences. He has also led multiple concert tours to the Republic of Ireland and the United Kingdom as well as throughout the Midwest.

A proud native of Texas, Heidel holds the bachelor’s degree in music education and a master’s in conducting from Texas Tech University, as well as a doctoral degree in music education from the University of Illinois at Urbana-Champaign. Prior to his appointment to the University of Iowa in 2008, Heidel served as Director of Bands at the University of WisconsinEau Claire, and Shippensburg University of Pennsylvania. In addition to his univer-

sity teaching experiences, Heidel taught in Texas for nine years, serving as Director of Bands at Muleshoe HS, Levelland HS, and Monterey HS (Lubbock ISD).

Damon Talley 5A Symphonic Band Damon Talley serves as Director of Bands and the Paula G. Manship Associate Professor of Conducting at Louisiana State University School of Music, where he oversees all aspects of the LSU Department of Bands, conducts the Wind Ensemble, and teaches graduate conducting.

Prior to his appointment at LSU, Talley held the position of Director of Bands at Shenandoah Conservatory, and he has also taught on the faculties at the University of Texas and the University of Michigan.

Talley is a strong supporter and advocate of music in the public schools. He regularly serves as a guest conductor, clinician, and adjudicator throughout the U.S. and abroad, including engagements in Germany, Switzerland, England, and Spain. Talley also advocates for young composers, often premiering student compositions.

Before teaching at the university level, Talley worked at the middle and high school levels in Texas. He earned a master’s degree in wind conducting from the University of Michigan and a doctoral degree in wind conducting from the

University of Texas. Talley is an honorary member of Kappa Kappa Psi and Tau Beta Sigma, and holds professional memberships in CBDNA, the Virginia Music Educators Association, and the Louisiana Music Educators Association. He is also an Educational Consultant and Clinician for the Conn-Selmer Corporation.

Vincent Gardner Jazz Ensemble I Born in Chicago and raised in Hampton, Virginia, Vincent Gardner is among the world’s foremost jazz trombonists, composers, historians, and educators.

He has served as lead trombonist with Wynton Marsalis and the Jazz at Lincoln Center Orchestra for over 20 years, along with serving as musical director and composer for that ensemble numerous times.

In collaboration with major symphony orchestras, Gardner has performed under the baton of esteemed conductors such as Kurt Masur, Seiji Ozawa, and Esa-Pekka Salonen. As an educator, he has served on the faculties of the Juilliard School, Northwestern University, The New School, Florida State University, Michigan State University, and the University of North Texas. In 2013 he was appointed as the founding director of the Jazz at Lincoln Center Youth Orchestra, which he directed for four years and guided to two performances at Carnegie Hall.

TMEA Scholarships TMEA is pleased to offer several scholarships each year for undergraduate and graduate study. To be eligible, complete all application requirements by November 1. Learn more at:

tmea.org/scholarships Southwestern Musician | October 2021 25

Gardner has released five recordings as a leader on the Steeplechase label and has recorded extensively as a sideman. He has also performed with artists such as the Count Basie Orchestra, Paul Simon, Lauryn Hill, Bobby McFerrin, Harry Connick, Jr., Willie Nelson, Illinois Jacquet, the Saturday Night Live Band, A Tribe Called Quest, and Frank Foster. He currently also serves as Artistic Director, and along with his wife is a cofounder of Jazz Houston, an organization dedicated to the cultivation of jazz through performance, education, and community outreach.

Aaron Lington Jazz Ensemble II Aaron Lington is a Grammy award–winning baritone saxophonist and composer. He received his bachelor’s degree in music education from the University of Houston, Moores School of Music, and both his MM in jazz studies and DMA in saxophone performance from the University of North Texas, where he studied with James Riggs.

In addition to his position as professor at San José State University, where he serves as Coordinator of Jazz Studies, Lington is also the director of the San Jose Jazz HS All Stars.

His performing and compositional credits include collaborations with the San Francisco Symphony, Maynard

Ferguson, the BBC Radio Orchestra, the Count Basie Orchestra, Doc Severinsen, Bo Diddley, Randy Brecker, Joe Lovano, Jamie Davis, Tommy Igoe, and Pacific Mambo Orchestra. In addition, he has won awards for his playing and writing from Downbeat Magazine and ASCAP, and he was the 2003 recipient of the Sammy Nestico Award. He was named the 2011 Jazz Educator of the Year by the California Music Educators Association. In 2015 he was named as a Silicon Valley Artist Laureate.

She-e Wu 6A All-State Percussion Ensemble She-e Wu is the director of the percussion program at Northwestern University, frequent guest artist teacher at the Royal College of Music in London, and consultant at Manhattan School of Music in NYC. Wu has appeared as a soloist with Philadelphia Orchestra, Tampere Filharmonia, InterAmerican Festival Orchestra (Puero Rico), Opole Philharmonic Orchestra (Poland), National Repertory Orchestra, and many other orchestras. She has also performed with the Bach Symposium/Variation Festival at Lincoln Center, the Philadelphia Orchestra Chamber Music Series, Chicago Chamber Musicians, Percussive Arts Society International Convention, and numerous festivals, universities, and con-

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servatories throughout the world.

Wu has composed works for percussion, released solo, chamber, and concerto recordings, commissioned new percussion works, and participated in and hosted countless symposiums, workshops, and seminars. Wu designed mallets for Innovative Percussion, designed instruments for Majestic/KHS as a consultant, serves on the Board of Advisors for Percussive Arts Society, and is a jury member for various percussion competitions worldwide.

Lalo Davila 5A All-State Percussion Ensemble Lalo Davila is currently Professor of Music and Director of Percussion Studies at Midd le Tennessee State University. He received his bachelor of music degree from Texas A&M Corpus Christi and a master of music degree from the University of North Texas.

Davila has extensive experience as an educator, composer, author, and performer. He was named Nashville’s Top Five 1998 Percussionist of the Year. He has toured with many artists including Take 6, Corpus Christi Symphony Orchestra, Nashville Orchestra, Nashville Jazz and Chamber Orchestras, Clay Walker, Allen Vizzutti, and Arturo Sandoval. Most recently, Davila’s voice and playing can be heard (as Jafar) in Disney’s dual-language series Aladdin.

Davila has also composed music for TV series including Drop Dead Diva, Breaking Bad, Graceland, and Burn Notice. He is an in-demand clinician and adjudicator and has conducted clinics throughout the United States and in Australia and Paris.

0

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Recruiting & Retaining Today’s Students

by Amanda Blackstone

L

et’s play a game. You are assigned a random topic and need to find as much information as possible within the next five minutes. Ready—Set—Go! Want to read about it? Go to Wikipedia. Want to listen to it? Go to YouTube.

Want to look at it? Go to Google images.

If instead of a random topic, imagine you were searching for information on your school music program. When prospective students and parents search, what do they find? We live in an amazing age, with endless information accessible from a smartphone in the palm of our hand. How many times a day do you grab your phone to get the information you want or need? Knowing that future students utilize the same technology when they want to learn more about the strengths and values of our programs, we need to ensure our digital presence is accurate and motivating.

Recruitment We’ve often heard that a first impression is made within seven seconds of meeting someone. With the pandemic restrictions, many were not able to meet their incoming students in person.

More than ever, that crucial first impression happened through an online search, a presentation from the school counselors, a social media account, or an email. While most of us have been meeting with our students in person now for weeks, we must still maximize our online presence. When parents or prospective students encounter your program for the first time, you want them to think 28 Southwestern Musician | October 2021

one thing: I can see myself in that program. That’s where digital marketing comes in!

Step One: Find and Correct What Already Exists Whether you’re new to your position or have been on your campus for many years, odds are there are digital imprints of your program that are either outdated or inaccurate. Before investing a lot of time in flashy graphic design or content creation, assess the value of what you already have. If you believe the existing website or social media account is useful, then begin by examining every element on it. Make sure all the online material supports your desired image for the program and effectively markets your offerings. Eliminate any outdated or inaccurate information that can be found through an online search or when reviewing your social media history.

Step Two: Cultivate the Vision Work with your colleagues to select a few keywords that reflect your program. For example, my colleague and I chose family, growth, and success. We use these terms to shape our digital presence, our interactions with students, and our goals for the future.

Once you determine that vision, consider the design style that you would like to portray in your marketing. You may want to look up other programs that represent examples of content you wish to emulate. It’s wise to aim for a timeless look that isn’t too trendy or flashy, but one that’s clean and can be used for years.

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Step Three: Start Creating With digital marketing, less is more, especially if you are just getting started.

If you aren’t sure which mediums would be most valuable, survey your students and parents to determine what they would access most often. As you create content like photos, videos, and social media posts, use consistent fonts and color schemes. I like to use my free Canva account to create graphics. Today’s students and parents are constantly bombarded by excellent marketing campaigns, and they will respond well to items that are consistent in style and clean in presentation. While you are creating, ask yourself these questions: Is it accurate? Student-centered? Accessible?

Eye-catching? Consistent? Concise?

Step Four: Share with Your Audience Once you have updated your website or created a social media account, be sure to spread the word! It may take a few reminders before you see engagement, and your audience will be more likely to utilize the

resource if it includes important information such as supply lists and event dates.

This is also a good opportunity to link your work with other existing media from your school district. On social media, you can do this through hashtags or tagging the location or account of your school district. On a website, you can include hyperlinks to pertinent district online resources.

Retention If your recruitment goal is to make a student feel like they could fit into your program, your retention goal is to make students feel like they do fit in and are valued as part of your organization. In the same manner, you want parents to feel involved and appreciated. How can you use digital marketing to achieve this mission?

Part One: Student Recognition There is no doubt that students like positive reinforcement and receiving recognition in front of their peers. Remember, we are in a time when parents and students

alike know the rush of quickly seeing likes on their latest selfie post. That dopamine release is no joke! That said, it’s important to recognize students’ achievements. And while spotlighting accomplishments is important, don’t forget about the opportunity to simply recognize a student for being a contributor to the program. For instance, you might post a weekly freshman introduction graphic, especially the summer before school or early in the year.

These posts are just a way for the student to feel important and for others to learn more about them. If you serve a very large group of students, it may be difficult to recognize every individual using your digital marketing, but that’s where a nice handwritten note can still do the trick—even just a couple of sentences sharing something positive about a child can go a long way with their parents.

Part Two: Effective Communication If a parent in your program consistently feels uninformed or confused, the odds of their child remaining in your program

2022 TMEA CLINIC/CONVENTION • FEBRUARY 9 –12, SAN ANTONIO

WWW.TMEA.ORG/CONVENTION 30 Southwestern Musician | October 2021

are slim. Often, a student will be on the fence about continuing in music, and their parents’ opinion will be what pushes them in either direction. While some parents may prefer to be contacted less often, I have found that most appreciate regular reminders and thorough information.

A good example of digital marketing that can serve to improve communication would be the integration of a Google calendar within your program website.

With this tool, parents and students can subscribe to the calendar and receive notifications and alerts on their mobile device or computer. If they are already checking their email and social media multiple times daily, use that habit to your advantage and share information in a timely and concise manner.

Part Three: Building a Legacy What I love about digital marketing is the opportunity to build your online presence year after year. If you invest time in starting something valuable, it can be used regularly to establish a legacy in your program. For example, on the first day of class, the orchestra teacher takes a picture of each beginner student holding their instrument. Those pictures could be used in student highlights throughout the year. Then, when that class graduates from eighth grade, the teacher could pair those pictures with images of the students at their final concert. Displaying this kind of growth is fun for the kids and can provide a sense of longevity in your program, even if you haven’t been there for very long.

Other Considerations Representation Matters As music educators, we aim to cultivate an inclusive environment that allows all students to experience the joy of musicmaking. It’s important that your digital marketing reflects and celebrates the diversity present in your music program.

Privacy and Copyright It should be noted that maintaining student privacy and respecting copyright laws are crucial. Check with your campus administration about the documentation required to include student images or information in your digital marketing.

If you invest time in starting something valuable, it can be used regularly to establish a legacy in your program.

When in doubt, leave it out or contact a parent for direct permission or approval via email. Regarding copyright infringement, a good starting place is to avoid sharing full recordings of repertoire or performances.

Student Contributions Your students are comfortable with digital media, so use them as a resource!

If your students show a knack for creativity or visual art, ask them to contribute to your digital presence. I strongly recommend that students participate by creating or collaborating on projects throughout the year. However, I do not recommend allowing students direct access to any accounts, profiles, or login information.

You are ultimately responsible for your program’s digital presence.

The Possibilities Are Endless A wide variety of digital tools are available that can help you cultivate a useful and meaningful online presence. You may

want to start with a website but eventually grow to include an Instagram account, Twitter account, YouTube channel, text reminder system, or digital newsletter.

New programs and apps are released regularly, and several are designed specifically for educators. When it comes to digital marketing, the sky is the limit!

While we continue to hope for a time when the pandemic is no longer our chief concern, it is good to realize that the technical knowledge we gained can be carried over into new and exciting projects that have nothing to do with quarantining. If remote learning caused your enrollment numbers to drop, you are not alone. As music educators, we are called to adapt and recover. With the use of digital marketing, we can bounce back better than ever! 0 Amanda Blackstone is the Head Band Director at Tippit MS in Georgetown ISD and is Executive Director of Young Band Directors of Texas.

Tell Us What Works for You TMEA is seeking submissions for the It Works for Me article series in Southwestern Musician. In this series, we share simple and effective strategies for delivering instruction, administering your program, advocating for music education, and more.

It Works for Me is like a side conversation you have after a clinic, when you share some great idea that’s been working in your class.

Check out the August and September issues that included great installments in this series! Email submissions for consideration to kcross@tmea.org. Unlike full-length features, these submissions should be a maximum of 800 words.

If you are interested in submitting a feature-length article, learn more at www.tmea.org/submission.

It Works for Me Southwestern Musician | October 2021 31

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southwestern.edu/music

TMEA Orchestra Vice-President

ANN G. SMITH

Examining the Role of Competition We often welcome competition in our music world as we encourage individual students and our ensembles to excel through auditions and contests.

W

MARK YOUR CALENDAR check www.tmea .org for updates

October—Renew your membership and register for the convention.

October 7, 6 a.m. CT—TMEA convention housing reservation system opens.

January 20—TMEA email/mail convention registration deadline.

January 20—TMEA convention online early registration deadline.

February 9–12—TMEA Clinic/Convention in San Antonio.

hat part does competition play in your orchestra program? I am asking this question as an opportunity for all of us to think about this topic on a personal and professional level. In my personal life, I became a competitive fitness athlete. Many of the processes I have worked through or am working through in the fitness world I often compare to my musical world.

I think I can confidently say that the enjoyment and performance of music is not a competitive activity. Béla Bartók said, “Competitions are for horses, not artists,” and the musical artist Jagjit Singh said, “The moment one brings competition into music, the soul is lost.” In contrast to those statements, we often welcome competition in our music world as we encourage individual students and our ensembles to excel through auditions and contests. There are assuredly many facets and opinions on this topic.

Looking at our musical development, we can see many competitive scenarios. Some put musicians in competition with themselves, while others put the musician in a place to compete with other individuals and other performing groups. Students compete against themselves when they submit a performance for a grade.

Is the learning process itself an individual competitive scenario as we try to be better or learn more than the previous experience? Students are competing against themselves when they participate in a solo and ensemble festival, working to earn that highest distinction from a judge. Students are put into competitive scenarios when they audition for campus organizations and Region and All-State Orchestras.

Southwestern Musician | October 2021 33

done anything to encourage competition for the growth of an individual or large group? Do we avoid competition because it puts us in a vulnerable position or opens us to critical analysis? Why do some thrive with competition while others shrink away? How does competition make us better performers and musicians?

A good place to start this conversation is to consider your philosophy of competition. I have my beliefs about competition. My philosophy is personal, and I don’t expect anyone to share it, just as our faith or belief system is individualized and different for each person. I don’t expect everyone to agree with me, nor do I expect people to conform to my philosophy.

I have been and will continue to reach out to other directors on this topic, and a couple of them have permitted me to share some of their thoughts. Ryan Ross, director at Plano West SHS, offered his philosophy in this statement: “I think that competition can make a positive impact on a musical organization as long as it is approached in a healthy way.” Joshua Thompson, director at Westwood HS, offered: “As for individual student com-

Are we in a competitive process when we perform to a specific standard? UIL Concert and Sightreading is now called an evaluation, but is it still competitive when we are performing to a set standard or rubric?

One column is not enough to examine even a few aspects of competition in music.

I hope to delve in and explore some of these ideas in future months. I would like to plant a seed and encourage individuals to examine various aspects of competition. The following are some questions that come to my mind: What is your philosophy of competition, and how does it fit in with your program? What are the benefits of competition within your music program?

Does competition benefit the individual musician? In contrast, what are the negative aspects of competition within your program and for individual musicians?

How do you balance competitive opportunities with noncompetitive performances for the individual and the large ensemble?

Have there been times when competition has benefited an individual or your program, and how? How do you handle a student who is highly competitive? Have you

petitions, I personally never pressure a kid to audition for All-Region, All-State, or any other competitions. I’ll tell them the positives of the experience but never force them to participate.”

I am looking forward to examining some of the ideas surrounding competition in the music classroom, and I hope to share more colleagues’ views and perspectives in future columns.

2022 Clinic/Convention Update I’m pleased to introduce you to our 2022 All-State Conductors this month.

These master educators are excited to work with our All-State musicians in February, and we can anticipate amazing performances from them under the leadership of this amazing group. If you haven’t registered to attend yet, be sure to do so now at the lowest fee! Go to www.tmea.org/ register to learn more and register. Be sure to secure your hotel reservation through TMEA’s official housing system starting October 7. Go to www.tmea.org/housing to preview the rates and to reserve starting on October 7.

Texas Association for Symphony Orchestras Presents

25th Annual-Juanita Miller Concerto Competition Sunday, January 9, 2022 New Venue: The University of Texas at Dallas Piano Amy Dorfman Vanderbilt University

Strings Laura Hamilton New York University

Winds-Brass Mark Kellogg Eastman School of Music

Prizes per division: First Place $750 - Second Place $400 - Third Place $200 Grand Prize Winner awarded performance opportunities TBD

October 31, 2021 www.tasovolunteers.com

Entry Deadline: Information:

Entries accepted On-Line Only.

34 Southwestern Musician | October 2021

EVEN TEACHERS NEED TEACHERS As an educator, one of the most impactful ways to improve is by educating yourself. That’s why the Yamaha Educator Suite (YES) helps music teachers access professional development opportunities, music teacher resources, program health support, advocacy assistance and more. YES brings you a network of like-minded teachers, experts and professionals, who want to help you achieve your goals. Let us help you raise the bar. Go to Yamaha.io/educatorsSWM

Alexander Jiménez Sinfonietta Orchestra Alexander Jiménez serves as Professor of Conducting, Director of Orchestral Activities, and String Area Coordinator at the Florida State University College of Music. Under his direction, the FSU orchestral studies program has expanded and been recognized as one of the leading orchestral studies programs in the country. Jiménez has recorded on the Naxos, Neos, Canadian Broadcasting Ovation, and Mark labels. Deeply committed to music by living composers, he has collaborated with contemporary and eminent composers. The University Symphony Orchestra has appeared as a featured orchestra for the College Orchestra Directors National Conference and the ASTA National Conference, and the University Philharmonia has performed at the NAfME Southeast Conference.

The University Symphony Orchestra was named outstanding performer by the National Educational Television Association for its broadcast of Zwilich’s Peanuts Gallery.

Active as a guest conductor and clinician, Jiménez has conducted extensively in the United States, Europe, and the Middle East, including with the Brno Philharmonic (Czech Republic) and the Israel Netanya Chamber Orchestra. In 2022, Jiménez will lead the Royal Scottish National Orchestra in a recording of works

by Anthony Iannaccone.

Jiménez served as music director of the Tallahassee Youth Orchestras from 2000 to 2017. At the Blue Lake Fine Arts Camp in Michigan, he serves as a principal conductor of the Festival Orchestra and as artistic consultant.

Soo Han Philharmonic Orchestra Soo Han is the Director of Orchestral Studies at Reva and Dew Berry Family School of Music at George Mason University, Music Director of the Elkhart County Symphony Orchestra, and a member of the Board of Directors of the Midwest Clinic.

He is also a contributing editor for Hal Leonard’s Essential Elements for Strings, a D’Addario Orchestral Strings Artist, a Conn-Selmer Educational Clinician, and 36 Southwestern Musician | October 2021

program coordinator and faculty member with Los Angeles Philharmonic’s summer YOLA program. Prior to George Mason, Han was the director of orchestral studies at Baldwin Wallace Conservatory of Music, where he conducted the symphony orchestra and collaborated on several projects and performance tours.

As an active conductor, he has appeared with several orchestras throughout the country. He is a frequent conductor for all-state, regional, and honor orchestras, appearing in over 30 states, and he has conducted internationally in Austria, China, Thailand, and Australia. He has collaborated with numerous artists, groups, and conductors and has presented workshops and clinics internationally and for nearly every major national and state music conference.

He is a coauthor, contributor, and managing editor for Teaching Music through Performance in Orchestra, Vol. 4, one of the leading orchestra pedagogical resources published by GIA. Having taught in the public schools for 15 years, Han is a passionate supporter of school music programs and remains active in instrumental classrooms throughout the country.

Jeffrey Grogan Symphony Orchestra Acclaimed conductor and teacher Jeffrey Grogan currently serves as Director of Orchestral Activities at the Bass School of Music at Oklahoma City University. He was recently invited by the LA Philharmonic to conduct alongside Gustavo Dudamel at Disney Hall, as part of the Youth Orchestras of Los Angeles National Festival. He also has recently conducted at the Sydney Opera House, Harpa Concert Hall in Iceland, and in Bangkok and Singapore. Grogan serves as a Master Educator for the Yamaha Corporation of America and is on advisory committees for the Midwest Clinic and Music for All. Following his passion for performing and helping create new music for orchestras, he has collaborated with many contemporary composers and soloists.

Grogan worked in studio and on several projects with violinist and composer Mark O’Connor. Grogan recorded O’Connor’s March of the Gypsy Fiddler with the Ahn Trio and New Jersey Youth Symphony on OMAC Records. He previously served 11

seasons as Education and Community Engagement Conductor of the New Jersey Symphony Orchestra and as Conductor and Artistic Director of the NJSO Youth Orchestras, the InterSchool Orchestras of New York, and the New Jersey Youth Symphony.

He was founding Artistic Director of two El Sistema-inspired programs in New Jersey and he taught for over a decade at the University of Michigan, Ithaca College, and Baylor University. He is also the former Associate Director of Bands and Marching Band Director at the University of Michigan and Baylor University.

José Hernández Mariachi Ensemble An internationally recognized musician, composer and educator, José Hernández continues to break boundaries in the world of mariachi.

A fifth generation mariachi musician, Hernández brings the pleasure of mariachi music to audiences across the globe. He is the founder of two world-famous ensembles: Mariachi Sol de México and Reyna de Los Angeles, America’s first all-female professional mariachi ensemble.

Hernández continues to advance the art of mariachi with daring new compositions and arrangements. He has composed, arranged, and provided music for 15 Sol de México albums. He sings and plays trumpet, violin, guitarrón, and vihuela, and he has performed in some of the most renowned venues around the world. He has recorded with the most respected and recognized names in the industry, including Selena, Vicente Fernandez, Luis Miguel, Bryan Adams, and the Beach Boys, and he has received four Grammy nominations.

Hernández’s musical inspirations are rich and diverse, ranging from Leonard Bernstein to Augustine Lara, Glenn Miller to José Alfredo Jimenez. One of his proudest achievements is establishing the Sol de México symphony orchestra, bringing this powerful and vibrant sound to mariachi lovers around the world.

Hernández is an impassioned ambassador of mariachi music. He is working hard to inspire and empower the next generation of musicians through the educational initiatives he has developed: the Mariachi Nationals and Summer Institute and the Mariachi Heritage Society.

0

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Moving Forward and Saving Time with Technology

By Mark Palombo

I

f you are anything like me, you developed a love-hate relationship with technology throughout the last school year.

Constant exposure to new technologies, juggling multiple lesson structures, endless pivoting, and the inevitable glitch likely had you yearning for the old-school way of teaching.

While you might have returned to in-person teaching, I encourage you not to return to the old ways, simply abandoning the technology you spent so much time learning. Instead, move forward with it. To accomplish this, we first need to look at how technology should function in our lives. Then we can take some new timesaving tips and start to make informed choices on how technology integrates into our workspace.

Start Decluttering Technology, by definition, should make an experience easier, faster, or more enhanced. If you struggle to fit a particular idea, technology, or program into one of these boxes, it either needs to be rethought or simply left behind. Over time, you’ll find that evaluating technology resources in this way will eliminate a lot of the unnecessary clutter. It may also motivate you to find some new solutions that are better than before. And, ultimately, there will be cases where a manual method is more effective than a techenabled one. Remember that this exercise is about decluttering; it’s not about finding tech solutions for everything.

Given that instability is one of the foundations of our stress with using technology, once you begin to declutter, I generally

advise against changing more than one or two technologies a year.

Based on your comfort level, however, that pace may differ, and that’s okay. If you’re struggling to determine what to change, take inventory of any standard process you employ for administration, communication, instruction, or assessment. Make note of those that are most time consuming or that seem the most frustrating (e.g., permission forms, pass-offs, grading, volunteer signups).

From this list, you could choose one or two and start exploring tech solutions that will work for you.

Find Your Style Over time, you’ll start to realize your style of tech usage.

Finding a style is important to acknowledge and conceptualize. Be aware that style and language are different. Examples of language are things like Google or Microsoft (you should absolutely find a language). Having a style means that you prefer to use certain programs or websites to support your workflow. Your preferences in technology, as well as the frequency in which you use them, are exactly that—yours. Each person, community, and fine arts program is different and, because of this, the technology choices they make will be different. Don’t add something simply for technology’s sake or because it’s the new, cool thing if it doesn’t work for you or your community.

While our choice of technology style is personal, I realize that teachers are sometimes required to utilize certain software, programs, or methods to instruct or to organize our data. Those Southwestern Musician | October 2021 39

requirements may not be in our control, they may not fit within our style or language, and they simply may not work well for us (we’ve all been there). My advice here is to be flexible in those scenarios while doing your best to stick to your plan. The goal is to streamline your life and eliminate the clutter (technology or otherwise) as much as possible.

good use. What I offer here are tips that are easy to implement, have significant impact, and take advantage of newly released features. You’ll notice that most of these ideas utilize Google, and that’s because Google is my tech language of choice. Regardless, the goal is to give you ideas on how to reclaim your time—a commodity in rare supply for any music teacher!

Reclaim Your Time Having thought about how to declutter and find our style, we can dig in to some tips and tricks to put these philosophies to

Google Drive While Google Drive is great for Cloud storage, I want to point out some new features that are often overlooked. The

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40 Southwestern Musician | October 2021

first feature, Priority Drive, is available if you have an educator Gmail (G Suite) account. The Priority feature, located above the My Drive link at the top left, will allow you to create Workspaces that you can design based on your current work needs. Working on your fall concert? Use this feature to put all relevant files in one Workspace. The best part is that Google is often advanced enough to build some Workspaces for you. You can then add files to your Workspace if Google misses any.

Ever need to share content with your vertical or horizontal team? Check out Shared Drives if your Google account supports it. Using Shared Drives eliminates issues with who owns a file by allowing multiple people access. Simply create a group, add members, and customize their access level. Based on how you set up the group, each member can access, contribute, or edit.

A final tip: Google Drive’s search bar is powerful. Click the search options icon inside the search field on the right side and you’ll find a host of search options. Search by file type, who shared it with you, and words within a file. This has been especially helpful when I need to locate a PDF of a particular form I made.

Google Forms and Sheets By now, you have likely seen a Google Form and the results in a Google Sheet.

Google Forms data collection is powerful, and I want to help take your organization to the next level. In your results Sheet, highlight all the data by clicking the topleft empty area—above Row 1 and left of Column A. Then click the filter button (the funnel icon in the toolbar above the sheet).

You’ll notice that the top row in each column now includes an upside-down triangle icon. Click on it to reveal a slew of organization options. A quick sort example is A–Z. Open the options menu on a column and choose the A–Z option—the sheet data will be reorganized based on that column’s data being sorted in alphabetical order (implementing this sort won’t alter the data on each row—it simply sorts all rows based on the attribute in the column you selected). Use this feature to sort names, shirt sizes, class periods, and the like.

Google has recently added a new sort feature in this menu: sort by color (you can select either the fill color of the cell or text color). If you’re a fan of color-coding

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your data, this is extremely helpful (side tip: if you love color-coding, look into Conditional Formatting). This helps if you highlight special circumstances and need to see which kids fall in that category.

Another great tip is filtering by condition. Do you have a due date for a Google Form submission? On the submitted date column, choose to filter by condition and set up a “Date is after” filter to quickly reveal all late entries. “Filter by condition” has a lot of great criteria to choose from.

Experiment with this list of conditions to find those that work for your style.

Finally, I recommend integrating addons to your Google Workspace apps. Addons are like Chrome extensions, but for Docs, Sheets, and other apps. My favorite one is ToTabs for Google Sheets. It quickly creates a new tab for each unique value in the column you select. It can make rosters in a snap or sort a sheet by T-shirt size for distribution, among a host of other possibilities. There are numerous add-ons, so explore and see which ones might work for you.

Efficiency Through Embedding Embedding allows us to display external content on a webpage by placing code that links to that external source on the page.

That content could be a video, a slide show, or another website. This technology is an incredible game-changer, and yet it’s easy to use once you get the hang of it. All you need to embed are two things: the embed

code (the code that says what resource to pull the data from) and the embed location (where to paste the code). Let’s use Google as an example.

In any Google Doc or Slides, go to File and select Publish to the Web. Click the Embed option and click Publish. The embed code will display and it looks complicated! Don’t worry—you don’t need to understand the code, you just need to copy it. Now all you need to do is find your resource’s embed location (this varies based on your platform). Paste this code and voilà—you have embedded it.

So why do this? The beauty of embedding is that you can display content in multiple places, yet you will update it only at its source. The code will look at the source and thus, the updated version is seen every time the content is accessed.

Tired of updating your newsletter in multiple places every week? Embed it. Tired of replacing a Google Slide every time you make a change on your assignments?

Embed it. Tired of having to change dates several times because you forgot to update them from last year’s dates? Embed them.

It’s simple and amazing!

A little extra tidbit: I create my newsletters in Smore.com. I embed the newsletter on our program home page and send it out weekly with a mailing list I made.

I update it once and send it out. I have saved so much time by doing this! You can see a video example of embedding at www.tmea.org/palombovideos.

Google Chrome Streamlining I wanted to wrap up with a few quick tips to help enhance your Google Chrome experience. The first is TabCloud, a Google Chrome extension. TabCloud will allow you to bookmark sets of tabs and name them. If you find yourself opening several websites consistently at the same time each day, this is the one for you. Daily attendance, grading, and specific classroom tab sets can be great things to save using TabCloud.

Another extension I love is Nimbus, which is essentially a more dynamic snipping tool than some of the default versions. You can easily add shapes, arrows, text, and more to any snip you take. This is a huge lifesaver when I need to show students where to click on a website.

Another trick is to maximize your Google bookmarks bar. If your bookmark has a specific icon (e.g., Charms, Canvas, and Google Drive), you can delete or shorten the display name. Right-click on the icon in your bookmarks bar and choose Edit; then either shorten or delete the name. Now each bookmark will occupy less space, allowing you to use that space to include more resources for quick access. I almost tripled the number of bookmarks I can access this way.

The final trick involves QR codes.

Chrome has an instant QR code feature in its browser. Simply click anywhere in the URL field and look to the right side, next to the star and zoom options. Click the four-square icon to generate a QR code for that URL. A Final Resource for the Visual Learner I’m hopeful you acquired some ideas to get you started here, but I also know it’s challenging to learn technology only from text. To see the features I mentioned here in action, go to www.tmea.org/ palombovideos. You will find step-by-step videos for each concept covered here.

Now go find your style of technology, clean the clutter, organize your workflow, and reclaim your time!

0 Mark Palombo is the Head Choir Director at Rodger & Ellen Beck JH in Katy ISD. He is in his 12th year of teaching this fall.

42 Southwestern Musician | October 2021

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Four Points MS Wind Ensemble............. Jessica Gonzales........................................Austin, TX

Colleyville MS Honors Band ................ Lauren Jones ........................................ Colleyville, TX

Indian Springs MS Band ........................ David Puckett .............................................. Keller, TX

Dieterich MS Honor Band..................... Andrea Tenant .................................... Midlothian, TX

Shadow Ridge MS Honor Winds ...................Ross Patterson & Adrienne Schuster .....Flower Mound, TX

Fredericksburg MS Honor Band........... Jeremiah Ward ............................. Fredericksburg, TX

North Ridge MS Honors Band ........................Jessica Shadman & Scott Dupre .....North Richland Hills, TX

Schimelpfenig MS Wind Ensemble ...... Ben Altom ..................................................... Plano, TX

Smithfield MS Honors Band................... Joshua Schechter ............... North Richland Hills, TX

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Adams JH Honor Band.......................... Darlene Blose ................................................ Katy, TX

Aledo MS Honor Winds ........................ Joey Qualls .................................................Aledo, TX

Brookside Int Wind Ensemble ............... Andie Troutman................................ Friendswood, TX

Argyle MS Honor Winds ....................... Evan Fletcher .............................................Argyle, TX

Cain MS Honors Band .......................... Trevor Ousey...........................................Rockwall, TX

Central JH Symphonic Band .................. Christine Belle Cumberledge ....................Euless, TX

Cooper JH Wind Ensemble .................. Adam Powell & Misty Smith ....................... Wylie, TX

Cobb MS Wind Symphony ................... Elizabeth Treadwell .................................... Frisco, TX

Hildebrandt MS Symphonic Band ....... Brian Towner ...............................................Spring, TX

Friendswood JH Wind Symphony ......... Thomas Landfried ........................... Friendswood, TX

Hofius Symphonic Band ........................ Jennifer Wren ..............................................Spring, TX

Artie Henry MS Honors Band ............... Robert T. Herrings, III ........................Cedar Park, TX

Berry Miller JH Honors Band ................ Chris Bennett ...........................................Pearland, TX

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Pearson MS Symphonic Band .............. Michelle Black ............................................. Frisco, TX

Keller MS Wind Ensemble ..................... Jedidiah Maus ............................................ Keller, TX

Red Oak MS Honors Band ................... Megan Czerwieski .................................Red Oak, TX

Kranz Honors Band ................................ Kelby Koch ...........................................Dickinson, TX

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Krimmel Int Symphonic Band ................. Stetson Begin .............................................Spring, TX

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Forney HS Wind Ensemble ................... Cody Newman ...........................................Forney, TX

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Friendswood HS Wind Ensemble ...............Brett Nelson............................................Friendswood, TX

Grapevine HS Wind Ensemble ............ James Rees ...........................................Grapevine, TX

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Midlothian HS Wind Ensemble ............ Larry Doran ......................................... Midlothian, TX

Legacy Wind Symphony ..............................Andrew Nance........................................... Mansfield, TX

H.B. Plant HS Wind Ensemble .............. Brian P. Dell ................................................. Tampa, FL

Ryan HS Wind Symphony ...........................Mary Brown..................................................... Denton, TX

Porter HS Wind Ensemble..................... Dr. Jimmy Nowell ........................................Porter, TX

Summit HS Wind Symphony........................Chris Kanicki..................................................Arlington, TX

Class AAAAAA Class AAAAAA

Braswell HS Wind Symphony............... Aaron Snipes .............................................Aubrey, TX

Allen HS Wind Ensemble ....................................Philip Obado ..................................................................Allen, TX

Frenship HS Wind Ensemble................. Dr. Ryan S. Smith ...................................Wolfforth, TX

Cypress Woods HS Wind Ensemble...............Tom Harrington .........................................................Cypress, TX

Grand Oaks HS Wind Ensemble ......... Michael Flake .............................................Spring, TX

Hebron HS Wind Symphony.............................Andy Sealy.............................................................Carrollton, TX

Klein Oak HS Wind Ensemble.............. Todd Clearwater ........................................Spring, TX

Lone Star HS Wind Symphony..........................Mark Poole ....................................................................Frisco, TX

McKinney North Honors Band ............. Gary Williams ......................................McKinney, TX

William Mason Wind Symphony.....................Ed Protzman.............................................................Mason, OH

Richardson HS Wind Symphony .......... Jesus Marquez .................................... Richardson, TX

Pearland HS Wind Ensemble.............................Joe Munoz ...............................................................Pearland, TX

Rockwall-Heath HS Wind Ensemble.... Christopher Loyd ....................................Rockwall, TX

Prosper HS Wind Ensemble................................Brandon Holt ..............................................................Prosper, TX

Sachse Wind Ensemble......................... Holly Taylor ................................................Sachse, TX

Waxahachie Wind Ensemble............................Rich Armstrong ................................................Waxahachie, TX

Seven Lakes HS Wind Symphony ........ John Mays ...................................................... Katy, TX

New Music Division

New Music Division

Amarillo HS Honors Band...................... Mike Ellis .................................................Amarillo, TX

Garland HS Wind Ensemble ................ Salvador Gallegos ................................. Garland, TX

Lake Ridge HS Wind Symphony ........... Brad Bonebrake ..................................Mansfield, TX

Guyer HS Wind Ensemble .................... Amy Woody ..............................................Denton, TX

Prosper HS Wind Ensemble ................... Brandon Holt ........................................... Prosper, TX

Johnson HS Wind Ensemble ................. Joey Lucita.....................................................Buda, TX

South Grand Prairie HS Wind Ensemble .. Michelle Ross.................................Grand Prairie, TX

Richardson HS Wind Symphony .......... Jesus Marquez .................................... Richardson, TX

Southlake Carroll Wind Symphony....... Ken Johnson......................................... Southlake, TX

Willis HS Wind Ensemble ..................... Chris Allen & Joseph Dittfurth ......................Willis, TX

West Lake MS Honors Band.................. Natalia Albacete ............................... Atascocita, TX Wylie HS Wind Symphony .................... Todd Dixon ................................................. Wylie, TX

State Level Winners Century HS Wind Ensemble ................. Chris Dasovick ......................................Bismarck, ND Hewitt–Trussville HS Wind Ensemble... Mike Guzman ......................................... Trussville, AL

Special thanks to adjudicators Richard Floyd, Gary Lewis, Kevin Sedatole, and Tim Rhea.

Thanks To The enTranTs of The Mark of excellence, The foundaTion for Music educaTion is able To help fund clinics aT Toda,Tba, Tcda, and The Texas Music educaTors associaTion, help provide scholarships and several oTher resources for The advanceMenT of Music educaTion in The uniTed sTaTes.

ORCHESTRA

CONGRATULATIONS TO THE 2021 MARK OF EXCELLENCE WINNERS! NatioNal WiNNers High School Full Orchestra Seven Lakes HS Symphony Orchestra ................................................................................. Desiree Overree, John Mays, Sean Carlton ................................................................................. Katy, TX Tomball Memorial HS Symphony Orchestra ....................................................................... Peter C. Jagdeo, Andrew Easton ..............................................................................................Tomball, TX

High School String Orchestra L.D. Bell HS Symphony String Orchestra ............................................................................. Allison King..................................................................................................................................... Hurst, TX Dulles HS Honors String Orchestra ...................................................................................... Michael Isadore & Angela Yip .......................................................................................... Sugar Land, TX Klein Cain HS Chamber Orchestra ...................................................................................... Sundas Mohi-Truong ...................................................................................................................Spring, TX Tomball Memorial HS Chamber Orchestra ......................................................................... Peter C. Jagdeo ..........................................................................................................................Tomball, TX

Middle School Full Orchestra Dulles MS Symphony Orchestra .......................................................................................... Sally Kirk, Edward Odeh, Regan Vogel & Tiffany Ye....................................................... Sugar Land, TX

Middle School String Orchestra Creekwood Chamber Orchestra .......................................................................................... Ken Buck & Colin Catoe ....................................................................................................... Kingwood, TX Curtis MS Chamber and Sinfonia I Orchestra .................................................................... Amanda Su & Amy Gearhart ....................................................................................................... Allen, TX Seven Lakes JH Chamber Orchestra .................................................................................... Jennifer Gingell ............................................................................................................................... Katy, TX Ulrich Chamber Orchestra .................................................................................................... Marcelle Martin & Carly Galloway ............................................................................................. Klein, TX

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

CommeNded WiNNers High School Full Orchestra Allen HS Symphony Orchestra ............................................................................................. David DeVoto, Matt Cross, Dr. Philip Obado.............................................................................. Allen, TX Martin HS Symphony Full Orchestra.................................................................................... Jamie Ovalle............................................................................................................................ Arlington, TX

High School String Orchestra Allen HS Chamber Orchestra ............................................................................................... David DeVoto, Matt Cross ............................................................................................................ Allen, TX McKinney Boyd HS Honors Consortium Orchestra............................................................ Michelle New.........................................................................................................................McKinney, TX James E. Taylor HS Chamber Orchestra .............................................................................. Clinton Capshaw & Kate Mathews ............................................................................................... Katy, TX The Woodlands HS Chamber Orchestra ............................................................................. Aaron Michaelson ....................................................................................................... The Woodlands, TX

Middle School String Orchestra Adams JH Chamber Orchestra ............................................................................................. Lee Anderson................................................................................................................................... Katy, TX Cinco Ranch JH Symphony ................................................................................................... Laura Vu & Catherine Urban .......................................................................................................... Katy, TX Woodcreek MS Chamber Orchestra................................................................................... Heather Davis, Pedro Funes, & Mackenzie Cueto .................................................................Houston, TX

State Level Winners Brighton HS Advanced Chamber Orchestra ....................................................................... Alia Gonzales ................................................................................................................. Salt Lake City, UT

JAZZ

Special thanks to adjudicators Gary Lewis and Mark Laycock.

NatioNal WiNNers High School Jazz Ensemble Aledo Jazz ............................................................................................................................. Jake Albin ......................................................................................................................................Aledo, TX H.B. Plant HS Jazz Band 1 .................................................................................................... Brian P. Dell................................................................................................................................... Tampa, FL Temple Highlighters ............................................................................................................... Marcos Duran .............................................................................................................................Temple, TX

Middle School Jazz Ensemble Vista Heights MS Jazz Ensemble .......................................................................................... Heath Wolf .......................................................................................................................... Farmington, UT

CommeNded WiNNers High School Jazz Ensemble The Birdville HS Jazz Ensemble ............................................................................................ Mike Cheripka.......................................................................................................North Richland Hills, TX Coronado Jazz Ensemble ..................................................................................................... Danny Timmerman.....................................................................................................................Lubbock,TX

Middle School Jazz Ensemble Vela Jazz 1 ............................................................................................................................. Erika R. Uribe.......................................................................................................................... Harlingen, TX

Special thanks to adjudicator Robert Morgan.

The 2021 Mark of excellence had 236 enTries, and has now received enTries froM 38 sTaTes. More inforMaTion is available aT www.foundaTionforMusiceducaTion.org/Mark-of-excellence rick YanceY, Managing direcTor rick@foundaTionforMusiceducaTion.org

CONGRATULATIONS TO THE 2021 MARK OF EXCELLENCE NATIONAL CHORAL & PERCUSSION HONORS WINNERS!

CHORAL

nationaL Winners

Commended Winners High School Mixed Choir

High School Mixed Choir Cinco Ranch HS School Chorale ................................Dorothy Farrar Wilson.............Katy, TX Klein Cain HS Chorale .................................................Austin Dean ....................... Houston, TX Montgomery Madrigals...............................................Heather Orr .............. Montgomery, TX

Angleton HS Varsity Mixed Choir ................Tony Stewart, Jr. .................Angleton, TX Hebron HS A Cappella Choir ......................Alexander Carr ................ Carrollton, TX Timber Creek HS Chamber Choir ................Adrian Kirtley .................. Fort Worth, TX

High School Open Class

High School Open Class

Angleton HS Varsity Treble Choir ......................... Tony Stewart, Jr. ......... Angleton, TX Duncanville HS A Cappella Men’s Choir ............... Jesse Cannon II ...... Duncanville, TX Hebron HS Combined Varsity Treble Choir ............ Alexander Carr .........Carrollton, TX

Cinco Ranch HS Bravo ..................................Dorothy Farrar Wilson ...............Katy, TX

Middle School Treble Choir

Middle School Treble Choir

Arnold MS Varsity Treble Choir ....................Marie Parisot Olsen .............Cypress, TX

McMeans MS Varsity Choir ................................. Steve Kalke ......................... Katy, TX Trinity Springs MS Varsity Treble Choir ................ Clinton Hardy ................... Keller, TX

Middle School Open Class Trinity Springs MS Varsity Tenor-Bass Choir....Clinton Hardy .................. Fort Worth, TX

Middle School Open Class Charles Patterson MS Varsity Tenor-Bass Choir...... Gerald Nicholas ............ Killeen, TX Trinity Springs MS Varsity Mixed Choir ............... Clinton Hardy ................... Keller, TX

PERCUSSION nationaL Winners High School Percussion Ensemble

Middle School Percussion Ensemble

Colleyville Heritage HS Percussion Ensemble...........Nick Beaudet ...............Colleyville, TX Dawson HS Percussion Ensemble ...............................Louis Boldrighini............. Pearland, TX

Bammel MS Percussion Ensemble ............... Cam Simpson....................... Houston, TX

Commended Winners High School Percussion Ensemble

Middle School Percussion Ensemble

Klein Oak HS Percussion Ensemble ......................Max Mullinix...................Spring, TX

Salyards MS Percussion Ensemble ......Christopher Nguyen & Joe Glass ..... Cypress, TX

state LeveL Winners Gaither HS Percussion Ensemble..................................................................................... Kristy Dell............................................................................................................................Tampa, FL

Special thankS to adjudicatorS allen hightower (choral) and lalo davilla (percuSSion) the 2021 Mark of excellence had 236 entrieS, and haS now received entrieS froM 38 StateS. More inforMation iS available at www.foundationforMuSiceducation.org/Mark-of-excellence rick YanceY, Managing director rick@foundationforMuSiceducation.org

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

Performances by the National Winners represent the top 25% of the entries, and demonstrate stunning musical achievement and exemplary teaching! In 2021 the project had 236 entries, and has now received entries from 38 states.

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

HONORS

More information is available at www.foundationformusiceducation.org/Mark-of-Excellence

TMEA Vocal Vice-President JESSE CANNON II

Reclaiming Your Joy! Like my children, my students are each unique yet they seek the same validation, acceptance, encouragement, and permission to be their true, authentic selves.

In Memoriam David Johnson August 26, 1979–September 7, 2021

S

MARK YOUR CALENDAR check www.tmea .org for updates

October—Renew your membership and register for the convention.

October 7, 6 a.m. CT—TMEA convention housing reservation system opens.

January 8—Area Vocal and Band auditions.

January 20—TMEA email/mail convention registration deadline.

January 20—TMEA convention online early registration deadline.

February 9–12—TMEA Clinic/Convention in San Antonio.

omewhere between the reality of school starting in person, while still navigating COVID-19 and the long delays for student schedule changes as your campus continues its attempt to level classes, your teacher joy can be depleted. A few key strategies can help you reclaim your joy. Whatever might be eroding your enthusiasm, I hope you’ll consider the following to help you and your students stay passionate in your musical journey together!

Build Relationships Take a break from the daily grind for some relationship-building activities. At the beginning of the school year, we often do these icebreakers, but then we stop. By embedding them weekly into your plans, your students can continue to get to know each other. Purposely investing time in each student yields great dividends. After teaching virtually last year, many of us took on a heavy SEL approach to our classrooms.

This practice shouldn’t stop since we are back in person. Let us continue to take on a Maslow-before-Bloom approach and see the impact it has on our students and our programs.

Maximize Time Reflecting and slowing down can not only help restore joy but also benefit classroom culture. If our students struggle to understand a

Southwestern Musician | October 2021 47

topic, we must take a different approach.

How can you improve the lesson, break it down, and reteach it in the next class? A slower pace causes many of us anxiety, as we worry about covering all the material to present a flawless concert. We need to consider instead how thorough comprehension is an outcome worth the patience it requires.

Keep It Simple Rekindling our joy may occur when we implement simple solutions for daily aggravations. For the student who is fre-

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quently without a pencil, attach one to their binder (or consider the “Pencil Principle” offered by Cristal Conner in the “It Works for Me” series accessible at www.tmea.org/ aug2021). For the student who likes throwing things, plan a game of trashketball while sightreading. As educators, we must not only create but also maintain an environment where students feel valued, where they take risks, where they aren’t afraid to fail, and where they know they are loved.

Within the walls of my classroom, when I see kindness, empathy, and compassion, I know I am doing more than just teaching pitch, rhythm, and diction.

Like my children, my students are each unique, yet they seek the same validation, acceptance, encouragement, and permission to be their true, authentic selves.

Reclaim your joy. Bring it with you into the classroom. Give it to your students, their parents, and your colleagues.

Convention Volunteer There are many opportunities for you to serve, and your volunteerism ensures our 2022 event will be the incredible success we all anticipate! To register and indicate your areas of interest and availability, go to www.tmea.org/vocalvolunteer.

Convention Housing TMEA has secured the most affordable nightly hotel rates near the convention center. Our hotel reservations system will

open Thursday, October 7, and I encourage you to reserve early to ensure you have a place to stay for our amazing annual event! Go to www.tmea.org/housing for a preview of rates.

All-State Conductors I am excited to introduce our 2022 All-State Conductors. The experiences they will share with our students will be life-changing. As you read about them, remember that during our convention, public rehearsals are listed in the schedule. Observe a rehearsal and learn from these amazing conductors and educators in action. If you haven’t already registered for the convention, do it today at www.tmea.org/register.

Jason Max Ferdinand Mixed Choir Jason Max Ferdinand is the Founding Artistic Director of the Jason Max Ferdinand Singers: an ensemble of exceptional talents. He is also Director of Choral Activities, chair of the music department, and full professor at Oakwood University, where he conducts the Aeolians of Oakwood University. Ferdinand is a published author and composer with GIA publications, featuring the book Teaching with Heart: Tools for Addressing Societal Challenges Through Music, and The Jason

2022 CLINIC/CONVENTION IMPORTANT DATES October 7, 6 a.m. CT Convention Housing Opens January 20 Email/Mail Registration Ends January 20 Early Online Registration Ends

48 Southwestern Musician | October 2021

Max Ferdinand Choral Series with Walton Music. He maintains an active schedule as a guest conductor and lecturer at schools, universities, churches, and choral festivals and conferences, domestic and international. As conductor of the Aeolians of Oakwood University, he has distinguished himself on the national and international choral stages. In 2017, he earned the Outstanding Director and Choir of the World awards at the Llangollen International Musical Festival in Wales. In 2018, his choir won three gold medals at the 10th World Choir Games held in South Africa and won the competition’s overall championship in both the Spirituals and University Choir categories. In 2018, he was named Teacher of the Year by Oakwood University. The Aeolians made their first appearance at the national conference of ACDA in 2019 to high acclaim. Ferdinand holds non-terminal degrees from Oakwood University and Morgan State University and a doctorate in choral conducting from the University of Maryland. He serves on the board of the National Collegiate Choral Organization and is a former board member of the Alabama Choral Directors Association.

Lynda R. Hasseler Treble Choir Lynda R. Hasseler assumed the directorship of the renowned Capital University Chapel Choir in July 1990, making her the first woman to head a choral program at a Lutheran college or university. As Professor of Music and Director of Choral Activities in the Conservatory of Music, Hasseler has nurtured Capital University’s rich choral legacy. The choirs under her direction have received numerous invitations to perform for regional and national music conferences and festivals, have been awarded gold medals in world choral competitions, and have toured nationally and internationally.

Hasseler is coeditor of the Capital University Choral Series published by Beckenhorst Press and has served across the United States and internationally as a clinician, presenter, and guest conductor.

Along with the Chapel Choir and Choral Union and composer Jake Runestad, she was awarded the 2017–2018 American Prize, Ernst Bacon Memorial Award for the Performance of American Music. She

had the honor of conducting the Chapel Choir in the premiere performance of the Brock Commission A Silence Haunts Me by Jake Runestad at the 2019 ACDA National Conference. She recently shared the podium with guest conductor and composer Eric Whitacre in a 2019 gala celebration of 100 Years of Music at Capital University. In June 2019, she conducted the Chapel Choir in festival concerts in the Netherlands and Belgium, and in March 2020, she returned to Carnegie Hall to conduct the Chapel Choir and a 280-voice festival chorus with orchestra.

Gary Packwood Tenor-Bass Choir Recognized as an inspirational and motivational conductor, pedagogue, and lecturer, Gary Packwood has appeared throughout North and South America, Europe, and Asia, and has conducted all-state and honor choirs in 35 states. Packwood is currently professor of music and director of choral studies at Mississippi State University, where he oversees and administers all aspects of the undergraduate and graduate choral music education degrees.

Choirs under his leadership have performed at state, regional, and national conferences of ACDA, NAfME, and the National Collegiate Choral Organization.

Packwood has published articles in the Choral Journal, Teaching Music, the 2nd Edition of the AmeriGrove Dictionary, and a book chapter in GIA’s publication of Conducting Men’s Choirs. A Lifetime member of the ACDA, Packwood is a pastpresident of the Southern Region of ACDA and is a Southern Representative for the National Collegiate Choral Organization.

Packwood earned a bachelor of music education degree from Southeastern Louisiana University, a master of arts degree from Florida Atlantic University, and a doctor of musical arts degree in choral conducting

and literature from Louisiana State University.

Pearl Shangkuan Small School Mixed Choir Pearl Shangkuan is a highly sought conductor, lecturer, and clinician who has led performances and workshops across six continents. Director of Choral Activities and Professor of Music at Calvin University in Grand Rapids, Michigan, she is also chorus director of the Grand Rapids Symphony, a Grammynominated professional orchestra.

Shangkuan has a signature choral series with earthsongs and is the music editor of the Calvin Institute of Christian Worship Choral series published by GIA. In 2014, she made her conducting debut at Carnegie Hall and was an invited guest lecturer at the World Symposium for Choral Music. Shangkuan has served on the jury of several international choral competitions and has led conducting masterclasses for the ACDA national conference, Chorus America, the University of Michigan, and the University of Illinois Choral Conducting Symposium, as well as many others across the United States.

She has conducted numerous all-state choirs and choral festivals nationally and internationally and has headlined several ACDA state conferences. She served as president of the ACDA Central Division and Michigan ACDA and has commissioned and premiered numerous choral works. Her choirs have performed at ACDA national, division, and state conferences. In 2013, Michigan ACDA honored her with the Maynard Klein Choral Award for “artistic excellence and lifetime leadership in choral music.”

She received a bachelor’s degree in church music, a master’s degree from Westminster Choir College, and a doctoral degree in choral conducting from Rutgers, the State University of New Jersey.

0

TMEA Scholarships TMEA is pleased to offer several scholarships each year for undergraduate and graduate study. To be eligible, complete all application requirements by November 1. Share this opportunity with your students who are interested in a career in music education and apply if you are seeking a graduate degree.

WWW.TMEA.ORG/SCHOLARSHIPS Southwestern Musician | October 2021 49

Social emotional learning in the elementary music classroom

S

By Analisa Byrd

ocial emotional learning (SEL) is the process through which children and adults acquire and apply the knowledge, attitudes, and skills necessary to understand and manage emotions, set and achieve positive goals, feel and show empathy for others, establish and maintain positive relationships, and make responsible decisions.

Today’s students are distracted; some suffer from mental illness, and most are affected by social media more than ever. As teachers, our role has evolved to now teach the whole child, the whole learner, including their SEL needs. SEL strategies effectively improve students’ behaviors, attitudes, and academic performance. Focusing on SEL can have positive effects on academic performance, physical health, and citizenship. SEL approaches are sought by employers and can reduce the risk of maladjustment, failed relationships, interpersonal violence, substance abuse, and unhappiness.

As music educators we already provide the perfect environment to implement SEL strategies in our classrooms and ensembles.

Afterschool activities (e.g., choirs and Orff groups) are a great place for students to develop and apply new skills. In this time of excessive demands on teachers, weaving SEL strategies into your existing curriculum and pedagogical methods may seem daunting. But I can assure you that you already do so many of these strategies, and it will simply require putting an emphasis on a different part of the lesson.

I began focusing on SEL strategies in my classroom about two years ago when I received a training on this “new way of working with student behaviors.” At first, I was overwhelmed by something new, but once I considered the strategies with an open mind, I realized I was already doing so many of the strategies in the music classroom.

Lessons to Promote SEL The following are several examples intended to help you feel empowered to add these strategies to your classroom:

Self-Awareness Let’s look at a lesson that focuses on self-awareness—understanding one’s own emotions, personal goals, and values. This 50 Southwestern Musician | October 2021

involves assessing one’s strengths and limitations, having positive mindsets, and possessing a well-grounded sense of self-efficacy and optimism. One way I support self-awareness is through a rhythm activity in which students review a variety of posted rhythms. I ask them to predict how successful they believe they will be. At the end of the activity, I ask students to discuss how they feel about being right or wrong in their choices, and we discuss their feelings about the outcome compared to their prediction.

In a self-awareness lesson for younger students, I use the book Happy by Miles Van Hout. In this book about feelings, each emotion is labeled and illustrated. The illustrations are vibrant and colorful, and the illustrator chose color palettes that beautifully reflect the identified emotion. This lesson is easily spread across several days as there are 17 emotions identified. The process I follow is simple: play an audio selection for an emotion (e.g., Clair de Lune by Debussy) and discuss what it means to feel the emotion and how the music fits the emotion. You can close by asking the students, “When do you feel _ ___?”

Self-Management Effective lessons for self-management—the ability to empathize, delay gratification, control impulses, and demonstrate perseverance—can easily be implemented through any game played in your room. When you play games, students learn so much about self-management and self-regulation. Again, just switch the emphasis here to have students acknowledge they are learning to control their impulses, persevere, and delay gratification. You can ask students a series of structured questions, such as why we take turns, why we keep trying even when we aren’t winning, or how it feels when another team does something. Get the students to label their emotions and feelings, validate them, and move on. Here’s a chant I use when students don’t get a turn: If I did not go today, it’s okay! This prepares their minds to bring the game to a close and reminds them that they can wait their turn for another day.

Social Awareness This ability to understand, empathize, and feel compassion for those with different backgrounds or cultures is so easily reached within the walls of our classrooms. When we teach songs from

WHAT STARTS HERE CHANGES THE WORLD

AND THE WORLD IS LISTENING

Application Deadline December 1 m u s i c . u t ex a s . e d u /a p p l y

We must allow our students to feel, express emotion, and learn how to go through that emotion. When students can label, identify, express, and resolve their emotions, discipline improves. different cultures, we should advocate for an artistic approach to world music instruction. We should study the musical elements of the diverse genres and aim to improve students’ musical knowledge and skills using a variety of music. During the lesson, lead in-depth discussions on the history and meaning of the song selection, and have students put themselves in the perspective of someone from that culture.

When we do this, we can foster thoughtful discussions about why it is important to embrace songs from other cultures.

A brief note about songs from different cultures: we should acknowledge that music is cultural, and we should support the sociocultural approach, which studies world music in conjunction with sociocultural and historical background. We should center on the understanding of how music is shaped within its context, on the meanings it has for its creators and listeners, and on the way it reflects their ideas and lifestyles. We cannot ignore how

music makes people feel, and thus we cannot use songs in our curriculum solely because they meet a learning objective. We must have compassion for the history of the music and select pieces that are culturally responsible.

Relationship Skills The development of these skills helps students establish and maintain healthy and rewarding relationships, behaving in accordance with social norms. Students develop relationship skills when we provide opportunities for active listening, cooperation in making music together, creative dance and movement, and through composition or lyrics-writing activities.

A website I utilize for writing lyrics and composing is Flocabulary, especially their “Joining In & Including Others” page linked from www.tmea.org/joiningin. You click on Lyric Lab to create lyrics using SEL vocabulary words. Another great lesson for relationship skills goes along with

the book What If Everybody Did That? by Ellen Javernick. In the story, we follow a little boy throughout his day noting times when people would do precarious things such as littering or not taking a bath. He would question, “What if everybody did that?” Once you’ve read the story, practice the rhythm of the B section, then practice the rhythms of the A section, which are created from sentences written about common broken rules in the music classroom, then perform A, B, A, and so on.

Being an SEL Model Make sure your SEL activities or lessons are sequenced to help students develop new abilities focused on personal and social skills and that they target specific social and emotional skills. As educators it is also our responsibility to model, practice, and apply SEL strategies and allow our students to witness the process. One way to do this is to admit your mistakes and failures to your students. I used to believe my lessons had to flow smoothly and be relatively mistake-free for the students to have the best learning opportunity. Now that I am SEL-focused, when I make a mistake, I model how to appropriately react. I talk

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with the students about how I am going to learn from the mistake and what it will be like for the students I teach later who will benefit from what I’ve learned. Mistakes are an opportunity to learn and grow, not something we should shy away from.

Previously, when students made mistakes, I quickly focused on what they did incorrectly, worked to fix the error (mallet technique, pitch accuracy, recorder tone, etc.), and moved on. Now I don’t move so quickly, especially if the student is a perfectionist. I acknowledge their high standards for themselves but focus on the learning process and the fun. I let them learn the power of the word yet. We reframe our mistakes and say things like, “I made a mistake when _ __, and I haven’t mastered that skill, yet.” Promoting social and emotional development for all students in classrooms involves teaching and modeling social and emotional skills. We need to provide ourselves and our students the opportunity to practice and apply those skills through a variety of experiences.

Impact on Discipline Our students come from different backgrounds and experiences. In some cases,

54 Southwestern Musician | October 2021

our students have experienced trauma, and that often manifests itself in unwanted behaviors. We need to assure our students that the school building is a place where they are safe, loved, and cared for.

To have that experience, we must allow our students to feel, express emotion, and learn how to work through that emotion.

When students can label, identify, express, and resolve their emotions, discipline improves.

Words of Caution Misguided SEL curriculum is being highly researched now to counteract a perception that it’s a “quick fix.” SEL is not rapidly achieved, and it is not intended to be a treatment for mental health issues.

Incorporating SEL strategies can benefit students’ emotional health, but it does not replace the role of a licensed mental health professional. Observe your students and seek help if you notice behaviors or concerns you believe should be addressed by a school counselor or other mental health professional.

As you work to support all students by incorporating SEL strategies within your music education practices, it’s impor-

tant to understand that all others in your school should share this approach to be most effective. Communicate with your administrators on how you are incorporating SEL into your lessons and encourage your wider school community to do the same. I began adding SEL strategies to my lesson plans when I knew my lesson would provide an opportunity to do so. I communicated these with my administrator and approached my school’s PBIS team with the idea of incorporating SEL strategies schoolwide. As music educators we can begin these conversations and, hopefully, effect wider change throughout our whole school community.

0 Analisa Byrd is an Elementary Music Specialist at Steubing Ranch Elementary in North East ISD. References Barrett, S., Eber, L., McIntosh, K., Perales, K., & Romer, N. (2018). Teaching Social-Emotional Competencies within a PBIS Framework. OSEP Technical Assistance Center on Positive Behavioral Interventions and Supports. www.pbis​ .org.

Best Practices in Social-Emotional Learning Prepared for WASA School Information and Research Service [In the following report, Hanover Research describes best practices for the design and implementation of a district-wide socialemotional learning program]. (2019, July).

Hout, V. M. (2017). Happy. Lemniscaat USA. Javernick, E., & Madden, C. M. (2012).

What If Everybody Did That? (What If Everybody? Book 1). Two Lions.

Robert Wood Johnson Foundation.

(2017). Social Emotional Learning in Elementary School. https://www.rwjf.org/ socialemotionallearning Webster-Stratton, C., & Reid, M. J. (2004). Strengthening Social and Emotional Competence in Young Children—The Foundation for Early School Readiness and Success. Infants & Young Children, 17(2), 96–113. https://doi​ .org/10.1097/00001163-200404000-00002 Weissberg, R. P. (2016). Handbook of Social and Emotional Learning: Research and Practice. In Why Social and Emotional Learning Is Essential for Students (Reprint ed., pp. 1–10). The Guilford Press.

TMEA Elementary Vice-President KATHERINE JOHNS

Why Did You Become a Teacher?

Whatever your why, I hope it is something that fuels you every day and helps you support your students as they develop a lifelong love of music.

D

uring our school’s in-service training this August, staff members were asked to share their why—why they became a teacher.

Both of my parents were educators, so that seemed like the obvious answer for me. But as I truly considered my answer to the question, I realized it’s more complex than the proverbial apple not falling far from the tree.

My dad was the late great Wayne Tucker, New Braunfels HS Band Director from 1979 to 1991. My mother was an English teacher. She taught several grades, from junior high through high school. While she also taught Latin, she is most well known for being the senior English teacher at New Braunfels HS. If you could survive Mrs. Tucker’s class, you could pass any college freshman composition class.

While my parents were dedicated and passionate educators, they also made it clear that they didn’t want the same path for me. Even in the ’80s, they noticed some problematic trends developing in education, and they didn’t wish that for me. And, at the time, I was just fine with that because I wanted to make it on Broadway.

Yes, Broadway. I wanted to perform in musical theater. At the time, I was disappointed not to be accepted into a conservatory where I knew I could train and realize that dream. Instead, I worked toward a vocal performance degree at Stephen F. Austin. I was still determined to hone my skills and find a way to become a professional performer.

Like most students, when I was in college, I needed money. But given the rehearsal and performance schedules required for a music degree, working a traditional job wasn’t feasible. Fortunately, I discovered SFA’s Center for Disabled Students, and I got a job as a note taker for a student

56 Southwestern Musician | October 2021

MARK YOUR CALENDAR check www.tmea .org for updates

October—Renew your membership and register for the convention.

October 7, 6 a.m. CT—TMEA convention housing reservation system opens.

November 1—TMEA Elementary grant application deadline.

January 20—TMEA email/mail convention registration deadline.

January 20—TMEA convention online early registration deadline.

February 9–12—TMEA Clinic/Convention in San Antonio.

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with cerebral palsy.

After working with that student for a while, he asked to attend a musical I was in with the town’s community theater. I transported him to the theater, got him all settled, and returned him to his dorm after the performance. A community theater member saw this exchange and told me about another job working with a female student with cerebral palsy. That student was in graduate school for counseling, and ultimately, she became one of my best friends.

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After multiple summer operas at SFA, auditions that didn’t materialize into jobs, and my graduate school friend having graduated, I decided to do something different the summer before my senior year. I got a job at Texas Lions Camp—a camp for disabled children from ages eight through sixteen. That experience changed my outlook. I would no longer seek auditions, hoping for my big break. Instead, I would seek opportunities to work with children.

Twenty-plus years later, I have no regrets.

While I didn’t end up where I first hoped, it is exactly where I was meant to be.

I might not be under the spotlights, but I do still perform; it’s simply part of how I share my love of music with every elementary student who enters my class. Each day when I tell a story or use puppets, I can feel my youthful passion for acting tugging at me. And while my audience is smaller than it would be on Broadway, it is the most important audience in the world— our future.

Whatever your why, I hope it is something that fuels you every day and helps you support your students as they develop a lifelong love of music.

Elementary Grant Application Deadline Nears The TMEA Executive Board approved up to $800,000 in funding for grants to benefit elementary music programs across the state. Any active TMEA member whose membership is current for 2021–2022 and who teaches elementary music in grades preK–5, can apply. This grant funding is to support the purchase of music, music equipment, instruments, instructional software, and other music educational materials for use during this school year.

November 1 is the deadline to apply for these grants for up to $800 per campus.

Go to www.tmea.org/elementarygrant to learn more and find a link to a list of approved vendors.

In this and September’s issues, you’ll find several vendors advertising specials related to the grant. Start the process early as there

are several requirements for applying.

Celebrating Music Together After our 2021 online convention (which was as great as any online event could be!), I know I’m looking forward to experiencing the joy of our annual event with you in San Antonio in February! We will have amazing clinics, inspiring performances, and exciting sessions for the general membership.

If you need official information to provide your administrator or any group that could help support your attendance, download a one-page summary of the convention at www.tmea.org/2022summary.

You can also share with your administrator a preview list of clinics offered just for elementary music educators by going to www.tmea.org/2022clinics. Our annual event offers the most targeted professional development for elementary educators and welcomes the largest group of elementary educators from around the state. There is no better opportunity to learn and share with others who do your job.

TMEA Convention Discounted Housing Discounted housing for TMEA members opens on October 7, at 6 a.m. CT. As always, once the official housing system opens, hotels will sell out quickly. Go to www.tmea.org/housing to learn more and to make a reservation.

Volunteer at the Convention Each year, all divisions of TMEA (and TMEA registration) rely on volunteers.

Any member may volunteer their time and talents in this way. In particular, the Elementary Division will need presiders, office workers, and more. No previous experience is required, only a willingness to serve, and you may indicate your desired level of time commitment when you apply.

Submit your information at www.tmea. org/elementaryvolunteer. Please thoughtfully consider giving back to TMEA in this way and register today.

0

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Date

Robert Floyd, Editor

September 22, 2021

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58 Southwestern Musician | October 2021

Go to https://my.tmea.org and update your TMEA record, selecting your school (My Organizations) and entering new contact information (My Contact Info). If your new school isn’t available for selection, email susand@tmea.org with as much the following as you can: School Name, District, Physical and Mailing Addresses, and TEA code (for Texas schools).

• Special Educator Discounts • Free Shipping on Qualifying Online Orders • Triple Guaranteed for Quality, Musical Function, and Price

800.443.3592 PERIPOLE.COM

PARTNERS IN MUSIC EDUCATION Exclusive Direct Distributors:

PERCUSSION

TMEA College Vice-President PAUL SIKES

There Is Joy in Reconnecting Even though the pandemic is still very real, and we must each do our part for ourselves and our communities, the ability to work and gather in a more normalized environment has been both thrilling and relieving.

A

s musicians, communication is at the heart of everything we do. Music is essentially about realizing ideas or emotions through sound and conveying those ideas and emotions to others. Through this communication we have the power to change people for the better. For me, one of those moments was the first time I heard Dvořák’s New World Symphony. I was perhaps 11 or 12 and I heard it as the soundtrack to a movie. I don’t even remember the movie, but I recall how captivated I was by the music. It inspired me to seek and learn more about the music and the composer. It was one of those moments that set me on a path of music for life.

As part of our everyday professional responsibilities, and especially during the ongoing pandemic, nonmusical communication is also extremely important. As leaders, we are responsible for communicating the importance of our profession to the community and the stakeholders of our universities. When people see the value of music on their campuses, in their communities, and in the lives of their people, they are more likely to support it with the resources needed to flourish. As educators, we must communicate the requirements of our classes, our expectations, the information we are teaching, exams and quizzes, performance dates, and the million other things that students must know to be successful. As students, we must receive all this information and in return communicate any conflict or problems we have with the information.

Understanding the necessity of communication, we should examine how to communicate effectively. Knowing how, what, where, and when to communicate with people is one of the fundamental aspects of any

60 Southwestern Musician | October 2021

MARK YOUR CALENDAR check www.tmea .org for updates

October—Renew your membership and register for the convention.

October 1—TMEA College research proposal grant application deadline.

October 7, 6 a.m. CT—TMEA convention housing reservation system opens.

October 15—TMEA College Division Fall Conference.

October 15—College Division Call for Papers online submission deadline.

November 1—Deadline for Collegiate Music Educator Award nominations.

January 20—TMEA email/mail convention registration deadline.

January 20—TMEA convention online early registration deadline.

February 9–12—TMEA Clinic/ Convention in San Antonio.

TEXAS LUTHERAN UNIVERSITY SCHOOL OF MUSIC

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

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

SCHOLARSHIP AUDITION DATES: Saturday, November 13, 2021 | 1-3 p.m.

Saturday, February 19, 2022 | 1-3 p.m.

Saturday, March 26, 2022 | 1-3 p.m.

SCHOOL OF MUSIC DEPARTMENT HEADS

Elizabeth Lee Asst. Professor, Cello

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

Ingram Lee, IV Instructor, Trombone & Euphonium

Beth Bronk Director of Bands bbronk@tlu.edu

Individual audition dates may be requested if necessary.

Eric Daub Director of Piano Studies edaub@tlu.edu Liliana Guerrero Director of Vocal Studies lguerrero@tlu.edu Eliza Jeffords Director of Strings ejeffords@tlu.edu

www.tlu.edu/music-scholarships.

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

David Milburn Instructor, Double Bass Nicole Narboni Asst. Professor, Piano Sung-Eun Park Asst. Professor, Collaborative Pianist Carlos Quesada Asst. Professor, Collaborative Pianist Keith Robinson Instructor, Tuba & Music Education

Mark Ackerman Instructor, Oboe Michele Aichele Asst. Professor, Music History Adam Bedell Instructor, Percussion Carol Chambers Instructor, Music Education

For specific qualifications for each award, visit

Scott McDonald Instructor, Saxophone & Jazz Band Carla McElhaney Asst. Professor, General Music

FACULTY

Saturday, April 9, 2022 | 1-3 p.m.

Deborah Mayes Accompanist

Jill Rodriguez Instructor, General Music Mikio Sasaki Instructor, Trumpet Eric Siu Asst. Professor, Violin

Shareen Vader William Hayter Instructor, Piano Asst. Professor, Clarinet Yvonne Vasquez Sean Holmes Instructor, Mariachi Asst. Professor, Horn Sophie Verhaeghe Hilary Janysek Instructor, Violin Asst. Professor, Flute & Music Ryan Wilkins History Instructor, Bassoon Michael Keplinger Instructor, Guitar

www.tlu.edu/music

successful program, campaign, or class.

Because of this, I want to offer a bit about what I believe are some of the important parts of effective communication.

Why Are You Communicating?

In May, I wrote about some of the whys of teaching music. In Start with Why: How Great Leaders Inspire Everyone to Take Action, Simon Sinek explains that leaders work to keep the why front and center in everything they do. I believe this applies to communication as well. It is important to ask ourselves why we are performing this, why we are sending this, and why people should care. For me personally, if I am going to invest time attending a concert, reading a letter, or listening to someone speak, I want to know why it is important to invest the time. If I don’t know the why or can’t quickly find it in a communication, I typically move on to other things.

We owe it to our audience to tell them why we are communicating and why it is important to them.

Who Is Your Audience?

Are you communicating with students, colleagues, administration, parents, or the

community? Answering this question will help define the tone of your communication, the medium, the level of formality, the timing, and more. This is true whether programing a performance or developing a lecture. For example, if I am planning to explain the importance of music education, I will communicate with a group of sixth graders much differently than a class of undergraduate students.

What Is the Most Appropriate Medium?

Once you have the why and who, you then determine the most appropriate and effect medium for your communication.

Again, the previous decisions will define this. If you are trying to recruit high school students to come to your campus, then a robust social media campaign is appropriate. However, if you are working to convince a donor of the importance of music scholarships, then personal visits, phone calls, and letters are going to be the more effective medium.

Repeat, Repeat, Repeat In the late 1800s, German psychologist Hermann Ebbinghaus described how

repetition helped people remember things.

His work influenced how we understand practice and learning as well as communication and advertising. In advertising, effective frequency is the concept centered on how much repetition is needed to influence us to act. Some say it’s not until the second and third exposure that people will start to remember and act. Others set that number much higher. The same is true with communication. To influence someone, you must not only communicate your ideas to them, but you must also do so multiple times so that they hear you, understand you, and eventually take action. This applies to musical and traditional communication. Thinking back to my experience

October 7 6 a.m. CT Make a TMEA Convention Hotel Reservation

TMEA.ORG/HOUSING

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

think. perform. explore.

■ 16 ensembles, with national and international ensemble touring opportunities ■ Degrees in music education, performance, and composition ■ Master of Arts in Teaching, a 5th year program with a full year of student teaching and 100% job placement (25 consecutive years) ■ Located in culturally vibrant San Antonio ■ Study Abroad opportunities

trinity.edu/music The Trinity University Music Department is recognized as an ALL-STEINWAY SCHOOL by Steinway and Sons, for its commitment to excellence

Southwestern Musician | October 2021 63

with the New World Symphony, each time I experience that piece as a listener, performer, or conductor, I am changed by the new knowledge I gain by hearing something new or in different ways.

Listen As musicians, we know that the most important skill is listening. By carefully listening to others, we can adjust our performance to better match that of our colleagues. The same is true with traditional communication. In his book Never Split the Difference; Negotiating as If Your Life Depended On It, Chris Voss describes the communication and negotiating skills he learned as an FBI hostage negotiator. He points out that the most important part of communication is actively listening to the other side and working to understand what they need. In our regular communication, we need to listen to feedback from those with whom we are communicating and actively seek out understanding so that we can tailor our message accordingly.

Communication has always been an important skill in our profession. It seems though that it is even more important now as we rebuild our personal and professional relationships from the damage caused by lack of communication during the pan-

demic. I encourage you to consider these ideas and apply them to your own communications. I hope you find it leads to a better understanding by you and your audience.

College Division Fall Conference As a reminder, we have moved our fall conference to an online-only platform, based on member’s response to our survey about attending. I hope to see you in just a few days, via Zoom, where we are certain to enjoy sharing with our colleagues. At this meeting, college faculty from across the state will discuss issues relevant to teaching music at institutions of higher education. We will also receive important updates from policy makers and TMEA staff who work daily on behalf of music education in our state. If you have not already, please register via the Zoom link emailed to you.

If you cannot find the invitation email, contact me at collegevp@tmea.org.

Call for Research Poster Presentation You still have time to submit proposals for the TMEA Clinic/Convention Research Poster Session. The research committee invites submissions from members in all TMEA divisions, including college stu-

2022 TMEA CLINIC/CONVENTION Pedagogical Clinics Research Poster Session College Division Meeting Extraordinary Concerts Networking Opportunities Huge Exhibit Hall

TMEA.ORG/CONVENTION

REGISTER TODAY! 64 Southwestern Musician | October 2021

dents. Selected authors will present their research at an informal session where interested music teachers can learn about the research and discuss applications to music teaching. Submissions must be received by October 15. Visit www.tmea.org/papers to submit a proposal. If you have any questions, contact Amy Simmons, Chair of the Research Committee, at asimmons@ austin.utexas.edu.

2022 Clinic/Convention Update The premier event for TMEA is our annual convention. The TMEA Clinic/ Convention will take place in San Antonio on February 9–12. This in-person event will feature over 300 workshops by nationally recognized clinicians for band, orchestra, vocal, elementary, and college educators and students. We will also host more than 100 performances by the state’s top elementary through college musicians.

Registration is now open. Convention registration fees are remarkably low at $60 for active members and free for college students with current memberships.

All Texas residents must be active, retired, or college members of TMEA to attend.

So, renew your membership now, which is $50 for an active membership, $25 for a college student membership, and $20 for retired membership. You may renew your membership and register for the convention at www.tmea.org/renew. Encourage your colleagues and students to join now so they can enjoy the year-round benefits a membership offers.

Convention Housing To help you find great hotel rooms for a great price, TMEA has negotiated special convention housing in the San Antonio area. Go to www.tmea.org/housing to reserve housing beginning October 7.

Collegiate Music Educator Award Take the opportunity to recognize your elite music education graduates through the TMEA Collegiate Music Educator Award. The deadline to submit names for those graduating this fall is November 1.

Recipients should represent the finest and most dedicated preservice music teachers on your campus. One active TMEA member who is a part of the institution’s music education faculty may nominate that institution’s students online. Learn more and nominate at www.tmea.org/ collegiateaward.

0

UNIVERSITY OF NORTH TEXAS

COLLEGE OF MUSIC WELCOMES NEW FACULTY

DEBORAH S. BROOKS

DANIEL BUBECK

JUNG CHOI

IAN CICCO

Visiting Lecturer in Music Entrepreneurship

Countertenor Lecturer in Voice

Assistant Professor of Oboe

Visiting Lecturer in Music Education

GAL FAGANEL

DARREL HALE

KIMBERLY HANNON TEAL

Visiting Professor of Cello

Associate Professor of Bassoon

Assistant Professor of Jazz History/Jazz Theory

Learn more at MUSIC.UNT.EDU COMPOSITION | CONDUCTING | ETHNOMUSICOLOGY JAZZ STUDIES | MUSIC EDUCATION | MUSIC ENTREPRENEURSHIP MUSIC HISTORY | MUSIC THEORY | PERFORMANCE | PERFORMING ARTS HEALTH

SOUTHWESTERN MUSICIAN

OCTOBER 2021