August 2018 Southwestern Musician

AUGUST 2018

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Contents VO LU M E 87 ɵ I S S U E 1 ɵ AU G U ST 2018

Features Making the Most of Rehearsal Time . . . . . . . . . . . . . . 22 Stop losing precious minutes every day and expand what you can teach by maximizing the start of every rehearsal.

[KRISTIN R. WEIMER]

Creating an Environment for Success in Middle School Choir . . . . . . . . . . . . . . . . . . 31 With a focus on fundamentals from day one, you can create a successful learning environment that facilitates inspiration for our students.

[A N N E S I E LO F F]

31

Classroom Management Tips for Elementary Educators . . . . . . . . . . . . . . . . . . . . . . . 40 As the year begins, an intentional focus on physical setup, rules and consequences, procedures, and more can help you ensure a successful educational experience for your students.

[TA M A R A K A H L E R & E D W A R D P. K A H L E R ]

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

Updates

[ROBERT

HORTON]

Executive Director’s Notes . .11 Attend Your Fall TMEA Region Meeting . . . . . . . . . . . . . . . . . . . . . . . . . 2

[ROBERT

TMEA Code of Ethics & Standard Practices . . . . . . . . . . . . . . . . . . . . . . 9

Band Notes . . . . . . . . . . . . . 19 [J O H N

F LOY D]

CA R R O L L]

Welcome, New Members! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 The Piano Guys Honor Texas Music Educators . . . . . . . . . . . . . . . . . . 16 Renew Your TMEA Membership . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 2019 TMEA Clinic/Convention . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 Collegiate Music Educator Award . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

Orchestra Notes . . . . . . . . . 26 [BRIAN

C O AT N E Y]

Vocal Notes . . . . . . . . . . . . . 36 [DERRICK

B R O O K I N S]

Elementary Notes. . . . . . . . 42 [CAS E Y

MEDLIN]

College Notes . . . . . . . . . . . 46 [V I C K I

on the cover

Lindsey Lemay, a 2018 graduate of Hebron HS, practices before an All-State seating audition during the 2018 TMEA Clinic/Convention. Photo by Paul Denman.

BAKER]

Southwestern Musician | August 2018

1

Editor-in-Chief: Robert Floyd

Attend Your Fall TMEA Region Meeting

UĂ R\G@tmea.org 512-452-0710, ext. 101

Managing Editor: Karen Cross

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

TMEA Executive Board

Check for schedule updates online at www.tmea.org/regionmeeting.

Region Date

Time

Location

President: Robert Horton

1

Aug. 11

rhorton@conroeisd.net :HVW 'DYLV 6WUHHW &RQURH ² 7KH :RRGODQGV +6

10:00 a.m. meeting, Amarillo HS Cafeteria 9:30 a.m. food

2

Aug. 11

10:00 a.m.

*X\HU +6 'HQWRQ

President-Elect: Joe MuĂąoz

3

Aug. 18

10:00 a.m.

Lake Highlands HS

0XQR]M#SHDUODQGLVG RUJ 3775 South Main Street, Pearland, 77581 281-997-3219 – Pearland HS

4

Aug. 17

5:00 p.m.

Mt. Pleasant HS

5

Aug. 11

9:00 a.m.

Terrell Academy for STEM/VPA

Past-President: Andy Sealy

6

Aug. 11

1:00 p.m.

3HUPLDQ +6 %DQG +DOO

sealya@lisd.net 4207 Plano Parkway, Carrollton, 75010 469-948-3011 – Hebron HS

7

Aug. 11

10:00 a.m.

*UDKDP +6

8

Aug. 4

10:00 a.m. meeting, 7HPSOH &ROOHJH )LQH $UWV 9:30 a.m. food

Band Vice-President: John Carroll John.Carroll@ectorcountyisd.org 1800 East 42nd Street, Odessa, 79762 432-456-2285 – Permian HS

9

Aug. 11

9:00 a.m.

Tomball Memorial HS

10

Aug. 6

6:30 p.m.

/DPDU 8QLY 0XVLF %OGJ

Orchestra Vice-President: Brian Coatney

11

Aug. 11

12:00 p.m.

McCollum HS

brian.coatney@pisd.edu 1313 Mossvine Drive, Plano, 75023 469-752-9396 – Plano Senior HS

12

Aug. 11

10:00 a.m.

Madison HS, San Antonio

13

Aug. 11

10:00 a.m.

*HRUJH 5DQFK +6

Vocal Vice-President: Derrick Brookins

14

Aug. 11

10:00 a.m.

Del Mar College

PDMRUVFDOH #JPDLO FRP :LPEOHGRQ 'ULYH $OOHQ 214-450-7464

15

Aug. 11

10:00 a.m.

Sharyland Pioneer HS

16

Aug. 4

10:00 a.m.

)UHQVKLS +6

Elementary Vice-President: Casey Medlin

17

Aug. 11

9:30 a.m

&OHDU )DOOV +6

18

Aug. 18

10:00 a.m.

Akins HS

19

Aug. 4

10:00 a.m.

6DP 5D\EXUQ +6

20

Aug. 11

9:00 a.m.

Adamson HS, Dallas ISD Univ of Texas/Tyler

casey.medlin@fortbendisd.com 6DQG\ 6HD 5RDG 5RVHQEHUJ ² %UD]RV %HQG (OHPHQWDU\

College Vice-President: Vicki Baker 9%DNHU#WZX HGX 3 2 %R[ 'HQWRQ ² 7H[DV :RPDQ¡V 8QLYHUVLW\

TMEA Staff

21

Aug. 11

10:00 a.m.

22

Aug. 25

11:00 a.m. meeting, Hanks HS 10:00 a.m. UIL

23

Aug. 11

9:00 a.m. meeting, 8:30 a.m. food

Seven Lakes HS

24

Aug. 11

10:00 a.m.

)ULVFR &HQWHQQLDO +6

25

Aug. 11

10:00 a.m.

Allen HS

Executive Director: 5REHUW )OR\G | UĂ R\G@tmea.org Deputy Director: )UDQN &RDFKPDQ | fcoachman@tmea.org Administrative Director: Kay Vanlandingham | kvanlandingham@tmea.org Advertising/Exhibits Manager: Tesa Harding | tesa@tmea.org Membership Manager: Susan Daugherty | susand@tmea.org

26

Aug. 11

10:00 a.m.

3Ă XJHUYLOOH +6

Communications Manager: Karen Cross | kcross@tmea.org

27

Aug. 11

9:00 a.m.

Cypress Creek HS

Financial Manager: &ULVWLQ *DIIQH\ | cgaffney@tmea.org

28

Aug. 11

10:00 a.m. meeting, Harlingen CISD PAC 9:30 a.m. food

29

Aug. 11

12:00 p.m.

Harlan HS

30

Aug. 11

10:00 a.m.

Chisholm Trail HS

Information Technologist: Andrew Denman | adenman@tmea.org Administrative Assistant: 5LWD (OOLQJHU | rellinger@tmea.org

70($ 2IÀFH Mailing Address: 3 2 %R[ $XVWLQ Physical Address: 7900 Centre Park Drive, Austin, 78754 Phone: 512-452-0710 | Toll-Free: 888-318-TMEA | Fax: 512-451-9213 Website: www.tmea.org 2IÀFH +RXUV 0RQGD\²)ULGD\ A.M.–4:30 P.M.

31

Aug. 11

10:00 a.m.

%LUGYLOOH )LQH $UWV &HQWHU

32

Aug. 19

3:00 p.m.

9LVWD 5LGJH +6

33

Aug. 11

10:00 p.m.

Kingwood Park HS

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.

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Southwestern Musician | August 2018

44

TH

ANNUA

BUCCA

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NEER

F E S TI VA L BLINN COLLEGE-BRENHAM

1st, 2nd & 3rd PLACE AWARDS IN CLASSES 1A-6A CAPTION AWARDS IN EACH CLASS FOR: DRUM MAJOR â&#x20AC;˘ COLOR GUARD DRUMLINE â&#x20AC;˘ SOLOIST

Saturday, Oct. 13, 2018 Brenham ISD Cub Stadium DUWLĂ&#x20AC;FLDO WXUI

1600 E Tom Green St Brenham Texas, 77833 For information contact:

)LUVW HQWULHV DFFHSWHG HQWU\ IHH (QWU\ IHH LQFOXGHV DGMXGLFDWLRQ DQG D Ă DVK GULYH RI \RXU SHUIRUPDQFH (QWU\ IRUPV DYDLODEOH DW www.blinn.edu/vpa/music_forms.html

(QWU\ GHDGOLQH 6HSW

Jill Stewart Instrumental Music Coordinator jstewart@blinn.edu Featured judges: Chris Magonigal Genesis Drum and Bugle Corps

Kyle Glaser Texas State University

Rob Towell Bryan High School â&#x20AC;&#x201C; Emeritus

The Executive Board and Staff welcome you back for another successful year! We look forward to serving you!

A special welcome goes to those who are new to teaching or new to Texas!

Please contact us if we can be of assistance.

4

Southwestern Musician | August 2018

B Y

R O B E R T

H O R T O N

PRESIDENT’S NOTES

Delivering excellence

A

August—Renew your membership and register for the convention.

August—Attend your Region meeting (see page 2).

October 1, 6 a.m. CT—Convention housing reservation system opens for members.

December 31—TMEA mail/fax convention preregistration deadline.

January 24—TMEA convention online early registration deadline.

February 13–16—TMEA Clinic/ Convention in San Antonio.

fter 25 years of teaching music and now working in my fourth year as a fine arts administrator, I still get excited about the beginning of the school year. Do you?

One of the reasons I get excited is that the new school year brings new opportunities. Over the past several months, we have hired many great teachers to begin teaching in our school district or to move to new positions within it. The hiring process has been very rewarding because with each great hire, we improve our students’ learning experience. Hiring the highest quality teachers is a priority of mine. We try to accomplish this through rigorous interviews and a thorough selection process. Young teachers who arrive with earned degrees from respected institutions, with high GPAs, great references from trusted colleagues, and quality student-teaching experiences are already on a path toward success. Experienced teachers with proven success and well-developed pedagogy are optimal hires. These attributes and accomplishments are some of the key ingredients to becoming a successful teacher.

However, as we know, teaching is a marathon, not a sprint. The initial excitement that teachers and students share often fades during the long journey of a school year. So how does one sustain a great learning environment? As a TMEA member, I encourage you to revisit our Code of Ethics and Standard Practices (always available on our website and printed in this issue on page 9).

This well-developed set of statements is a wonderful source of belief about how we, as professional music educators, can interact with each other, our students, and our communities. Realizing that we are engaged in the ultimate interdependent activity, education, I encourage you to consider how we interact with our colleagues, our students, and each other.

As music educators, we have a precious opportunity every day to choose to make an impact with our thoughts, words, and actions.

Southwestern Musician | August 2018

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TEXAS LUTHERAN UNIVERSITY SCHOOL OF MUSIC

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

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

For specific qualifications for each award, visit

www.tlu.edu/music-scholarships.

SCHOLARSHIP AUDITION DATES: Sunday, November 11, 2018 TLU Performing Arts Scholarship Invitational

Sunday, February 10, 2019 | 1-3 p.m.

Saturday, March 23, 2019 | 1-3 p.m.

SCHOOL OF MUSIC DEPARTMENT HEADS

Monica Kang

Douglas R. Boyer

Elizabeth Lee

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

Asst. Professor, Cello

Beth Bronk

Choral Accompanist

Director of Bands bbronk@tlu.edu

Scott McDonald

Sunday, May 19, 2019 | 1-3 p.m.

Wei Chen Bruce Lin Asst. Professor, Piano

Deborah Mayes

Shaaron Conoly

Instructor, Saxophone & Jazz Band

Director of Vocal Studies sconoly@tlu.edu

Carla McElhaney

Eric Daub

Asst. Professor, Collaborative Pianist

Director of Piano Studies edaub@tlu.edu

David Milburn

Eliza Jeffords Director of Strings ejeffords@tlu.edu

Instructor, Double Bass

Kurt Moede Instructor, Horn

Keith Robinson

FACULTY Mark Ackerman Instructor, Oboe

Adam Bedell

Saturday, April 13, 2019 | 1-3 p.m.

Asst. Professor, Piano; Collaborative Pianist

Instructor, Percussion

Carol Chambers

Instructor, Tuba & Music Education

Jill Rodriguez Instructor, General Music

Robert Mark Rogers Asst. Professor, Bassoon

Instructor, Music Education

Evan Sankey

Joseph Cooper

Asst. Professor, Trombone & Euphonium

Asst. Professor, Trumpet

Individual audition dates may be requested if necessary.

Paula Corley

Shaunna Shandro Asst. Professor, Voice

Instructor, Clarinet

Jeanne Gnecco

Eric Siu Asst. Professor, Violin

Instructor, Flute

Chad Ibison Asst. Professor, Guitar

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

tlu.edu/music

Robert Warren Asst. Professor, Piano, General Music & Music History

Section 1 of our Code of Ethics is entitled “Responsibilities to the Profession,” and it begins: “An Ethical Teacher shall recognize that the profession demands integrity, high ideals, and dedication to music education.”

Hopefully, this statement affirms why you became a music educator. Who gave you the gift of music and nurtured it in you? Can you picture the face and voice of the person who inspired you to become a music educator? I was fortunate to have teachers whose high ideals demanded excellence in music-making and whose expectations made me strive to be better. However, I also saw them all endure moments of crisis when their integrity was the clear lens through which they made difficult decisions. These qualities were choices, not merely attributes of their character. I encourage you to take some time to think about people who have inspired you; remember why their example was so influential on your career choice. As music educators, we have a precious opportunity every day to choose to make an impact with our thoughts, words, and actions.

Section 1.23 of the Code of Ethics continues that an ethical teacher “shall respect and support colleagues and other school personnel in the proper performance of their duties.”

In this very contentious age in which we live, seeking to shame, discredit, or openly defy duly-elected authority figures is in vogue. For some, every motive is questioned, and meanings are ascribed to words taken out of context. We make up stories to explain or sometimes predict perceived wrongs or injustices. Former President George W. Bush said, “Too often we judge other groups by their worst examples, while judging ourselves by our best intentions.” As educators we can teach and model a better way. I encourage you to keep open dialogue with your elected leaders in music education. I encourage you to seek opportunities to serve your colleagues and to make your Region a supportive and collegial place.

From section 2.18 of our Code of Ethics: “An ethical teacher shall design and employ methods of instruction that provide the highest educational and musical experiences and instill a lifelong appreciation of music and the arts.” That is a lofty goal! Each year I teach, I look for ways to improve my relationships with students to support music-making at the highest level.

On days when it seemed I wasn’t making progress toward that goal, I often asked myself what I could do better. One critical element is always classroom environment. In a June 2018 article in ASCD’s Education Update, author Laura Varlas interviewed USC Professor of Education, Psychology, and Neuroscience Mary Helen Immordano-Yang about the “unbreakable bond between emotions and learning.” We have known for years that music education and performance activates the entire brain. She boldly asserted that emotions are the thing that causes us to think.

Immordano-Yang offered the following: As teachers, we need to support the emotions that are an inherent part of the disciplinary thinking itself, like interest, the curiosity that drives us to continue working on something, and the little jolt of satisfaction that we get when we actually understand or achieve something. Educators need to find ways for students to be emotionally engaged with the ideas and skills they are exploring, and to downplay the external stuff like grades, fear, embarrassment, and stereotype threat. We need to support students in becoming intrinsically emotionally engaged with the content they’re learning.

What an advantage we have as music educators: We teach persistence, self-discipline, cooperative work, and interdependence. We have the privilege to teach those skills through a supportive environment, using the inimitable gift of music.

Back to our Code of Ethics, section 2.19 states that ethical teachers, in their responsibility to the student, “shall continually engage in activities fostering professional growth.” As you go through the T-TESS training, goal setting, and Student Learning Objective (SLO) process this fall, consider the foundational skills that give your students ownership of their learning. Literacy and performance skills can be used for a person’s lifelong journey with music. I encourage you to seek new ways to teach these skills. Listen to your students, ask your colleagues, register for workshops, and plan to attend the TMEA Clinic/Convention, February 13–16, in San Antonio!

Our TMEA mission is to promote excellence in music education. Thank you for being part of that mission. Consider how you have been influenced by music educators. Let’s all contemplate ways we can grow together to continue that influence.

Together, we are creating a legacy for the future of Texas, and the world of music.

Make a Bold Statement If I asked you why you’re a TMEA member, you might immediately think about audition opportunities for your students or professional development opportunities for you at the convention and Region workshops.

As we begin a new school year and renew our memberships, I challenge you to consider a different perspective.

When you join TMEA and renew your membership each year, you make a bold statement. When you maintain an active TMEA membership you are saying you want music education to continue to be part of every child’s music education and that you want to help make it happen.

TMEA leaders represent you in front of state decision-makers every year. Just envision if our Executive Director Robert Floyd testified in front of the Texas House Public Education Committee saying he’s the director of TMEA, an associ-

ation of 500 music educators. They might not even look up. Instead though, he can introduce himself y stating that he represents over 13,000 music educators across our state!

This number matters.

Your membership matters.

TMEA has consistently maintained extremely affordable dues compared to other professional associations. This year, let’s remember how far each of our dues payment stretches, especially when it comes to the daily work involved in keeping music education strong in Texas for every student!

So, if you haven’t already, renew today.

Your membership expired on June 30.

This year, don’t wait for a programmatic reason to motivate your renewal.

Renew because you want to be a music educator boldly supporting Texas music education!

Southwestern Musician | August 2018

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TMEA Code of Ethics and Standard Practices The Texas Music Educators Association firmly believes music is an essential component in the education of Texas school children. Therefore the conduct of music educators in the practice of the profession shall be above reproach. The purpose of this document is to define the ethical standards of Texas music educators. Texas music educators must clearly understand their duties and obligations to perpetuate the dignity and honor of the profession. This code is not intended to supersede, but rather enhance, any other codes to which the TMEA member might be subject.

SECTION 1 RESPONSIBILITIES TO THE PROFESSION An Ethical Teacher: 1.10 Shall recognize that the profession demands integrity, high ideals, and dedication to music education.

1.11 Shall recognize that maintaining the integrity of the profession is the responsibility of each member.

1.12 Shall build a professional reputation based upon ability and integrity.

1.13 Shall endeavor to promote positive professional relations with colleagues in education.

1.14 Shall exhibit and model to colleagues and students ethical and legal practice with digital media and conduct positive, responsible behavior when using social network communications.

1.15 Shall neither accept nor offer any gratuity, favor, service, or gift that would appear to result in special concession or diminished capacity of impartial professional judgment.

1.16 Shall respect the confidentiality of information that is privileged or that, if disclosed, may needlessly injure individuals or the school.

1.17 Shall at all times make a distinction between official policies of the school district or educational organization and personal opinion.

1.18 Shall not intentionally violate or misrepresent official policies of the school district or other educational organization.

1.19 Shall not falsify documents or compel others to do so.

1.20 Shall be aware of and abide by existing copyright laws and guard against any infringement thereof.

1.21 Shall maintain records accounting for all monies and conduct financial affairs with integrity.

1.22 Shall enter into a contract or agreement only if it will allow the maintenance of professional integrity.

1.23 Shall respect and support colleagues and other school personnel in the proper performance of their duties.

1.24 Shall report to the appropriate entity any conduct by a colleague which is considered detrimental to the profession.

relationships with students for private advantage.

2.18 Shall design and employ methods of instruction that provide the highest educational and musical experiences and instill a lifelong appreciation of music and the arts.

2.19 Shall continually engage in activities fostering professional growth.

SECTION 2 RESPONSIBILITIES TO THE STUDENT An Ethical Teacher: 2.10 Shall not grant any advantage, deny benefits, or unfairly exclude any student from participation in any program on the basis of race, color, creed, gender, disability, national origin, marital status, political or religious beliefs, family, social or cultural background, or sexual orientation.

2.11 Shall not take physical, emotional or financial advantage of any student.

2.12 Shall make every effort to protect the physical and mental health and safety of all students.

2.13 Shall not solicit or engage in sexual conduct or in a romantic relationship with any student.

2.14 Shall model and guide students to professionally and ethically utilize social network communications.

2.15 Shall not furnish alcohol or illegal/unauthorized drugs to any student or knowingly allow any student to consume alcohol or illegal/unauthorized drugs in the presence of the educator.

2.16 Shall consider the individuality of each student when resolving problems (including discipline) and such resolutions shall be accomplished according to laws and school board policy.

2.17 Shall not use professional

SECTION 3 RESPONSIBILITIES TO THE COMMUNITY An Ethical Teacher: 3.10 Shall model conduct at all times in such a manner as to merit the respect of the public for members of the music education profession.

3.11 Shall maintain an active role in developing positive school and community relations.

3.12 Shall remain cognizant of the impact of the studentsâ&#x20AC;&#x2122; home environment on their education and shall attempt to understand and work within existing community cultures.

3.13 Shall make every effort to communicate with parents when the interests of students would be best served by such communication.

3.14 Shall use social network communications professionally, ethically, and with cultural sensitivity when engaging families and the community.

3.15 Shall strive to improve the musical culture of the community and instill an appreciation for the arts.

3.16 Shall accept the professional responsibility to serve as an advocate in the community for matters relating to music education.

3.17 Shall remain aware of current legislation affecting education in general and the arts in particular.

Southwestern Musician | August 2018

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TMEA Memberships Have Expired! www.tmea.org/renew M EM B ERS H I P • LI A B I LI T Y I N S U R A N C E • C O N V EN TI O N R EG I ST R ATI O N

Renew today and remind your colleagues to do the same. All memberships expired on June 30 and liability insurance through TMEA expires August 20.

Don’t wait for audition deadlines to renew!

10 Southwestern Musician | August 2018

% < 5 2 % ( 5 7 ) / 2 < '

EXECUTIVE DIRECTOR’S NOTES

Music education and school safety

I

August—Renew your membership and register for the convention.

August—Attend your Region meeting (see page 2).

October 1, 6 a.m. CT—Convention housing reservation system opens for members.

December 31—TMEA mail/fax convention preregistration deadline.

January 24—TMEA convention online early registration deadline.

February 13–16—TMEA Clinic/ Convention in San Antonio.

n solving today’s challenges of providing a quality education for the schoolchildren of Texas and addressing college and career readiness, school safety isn’t generally part of the conversation. Yet as we begin the 2018– 2019 school year, this topic is omnipresent on the minds of state officials, school administrators, law enforcement, local school boards, teachers, and obviously parents and students.

In Governor Greg Abbott’s “School and Firearm Safety Action Plan” released earlier this summer in response to the deadly Santa Fe HS shooting, he mentioned numerous ideas for preventing school shootings by “hardening” schools to make them more resistant to attacks. But one part of his plan pushes a softer approach—focusing on students’ mental health. Hiring more counselors would clearly be an integral part of such a plan, but as a June 12 Texas Tribune report recently conveyed, counselors can’t be the only individuals who are recognizing when students have mental health issues. The average in Texas school districts is 449 students to 1 counselor.

During the school year, students spend more time with teachers than any other adult, and very few students spend more time with an individual teacher than those enrolled in a TEKS-based music ensemble. You may be one of the best positioned campus faculty to reach a troubled child and perhaps head off a crisis before it occurs.

That same Texas Tribune report quoted Ron Avi Astor, a University of Southern California professor of social work and education who worked with a coalition of school violence experts to create a school shooting prevention plan following the Stoneman Douglas HS shooting in Parkland, Florida, earlier this year. The Parkland plan, like Abbott’s, recommends greater student

Provide students with an environment where they feel safe and welcomed, and then you can begin to teach them.

Southwestern Musician | August 2018 11

access to school counselors but also placed an emphasis on creating a positive climate in schools to prevent students from feeling isolated.

“That is missing a little from the Governor’s plan,” Avi Astor said. “All power to him for getting more social workers, counselors, and psychologists on school campuses because we need those, but I think the [plan] should go further and have more social and emotional focus if he wants to create real change.” The Tribune reported that Texas school districts such as Dallas ISD are already approaching school violence with methods like those recommended by Astor.

“Whenever we focus on these defined skills . . . and are shaping a positive climate through these practices, students feel that sense of belonging,” said Juany Valdespino-Gaytán, DISD’s executive director of student engagement and counseling services. “If a student doesn’t feel they have support or they feel isolated, they won’t feel part of the community, and then we are risking students feeling isolated and having wandering thoughts.”

At a spring concert honoring the memory of those killed in the Parkland shooting, band members shared their thoughts of what music meant to them, and the prevailing message was one of family and unity through music. In our recent convention roundtables analyzing how to best serve urban music programs and the students they teach, the same “secret sauce” prevailed—provide students with an environment where they feel safe and welcomed, and then you can begin to teach them.

As a music educator for 25 years, I was always so proud of the fact that music teachers welcome every student into their rehearsal rooms. From students with physical or learning disabilities, to students who were loners or struggled to be accepted socially, we have a place for everyone. It always warmed my heart to see a national merit scholar marching beside a student with a learning disability, to watch a student with cerebral palsy spinning his wheelchair in the bed of the equipment truck as he loaded instruments, and to observe the drum line rallying behind a student with Down syndrome as he played cowbell in the pit during UIL Marching Contest. Students struggling for a place of social acceptance on the campus were equally embraced by other members in our music ensembles.

12 Southwestern Musician | August 2018

At a time in the 1970s when student gangs were gaining notoriety and threatened safety on the streets and in schools, my very supportive principal always referred to the band as the biggest “gang” on campus. When you included choir and orchestra the enrollment ballooned to over 650 students in three grades. While not like the gangs of notoriety, he was right— the music classroom gave all students a safe haven to be accepted and engaged in their school experience. In addition, numerous studies have shown that students involved in a music class are less likely than the campus average to be referred to the principal’s office for a discipline issue.

Certainly, a music program is not the only place on a campus where students can gain a sense of belonging and safety. Other academic classrooms, clubs, and extracurricular activities such as athletics can to a degree serve that purpose. But rigorous participation in band, orchestra, or choir can meet the needs of students on your campus in many ways while also preparing them for the 21st-century workforce.

The skill of collaboration, combined with creativity and social interaction learned in the music classroom, is becoming more important in the workforce, and as a most important side benefit, social health issues with participating students can be minimized.

As a music educator you likely find nothing in this column that is revolutionary or eye-opening. But with so many options, distractions, and priorities (from A–F accountability to career emphasis that triggers additional district funding), administrative officials need to be

reminded of the role we play in the wellrounded education of the child and our contributions to resolving the school safety crisis. Students should be counseled into our classrooms, not out of them. And as their teacher, never hesitate to report any alarming behavior to appropriate campus authorities. It could make the difference in that student’s life, and in these days and times, the lives of others.

TMEA Thanks Laura Kocian Laura Kocian, our Financial Manager for the past 16 years, has relocated to the San Antonio area with her husband, George, to begin a new life in retirement and be closer to their children and other family. Laura has been a loyal and dedicated employee, and we are so grateful to her for her unselfish commitment to TMEA and to our members. Her accounting skills are exemplary, and she has guided us through 16 extensive audits, expanded our control and internal management of Region checking accounts, initiated our system issuing Form 1099s centrally, and implemented a new accounting software system. Laura will be greatly missed, but we wish her well in this new phase in her life.

I am pleased to announce that Cristin Gaffney has joined the TMEA staff as our new Financial Manager. Cristin has an extensive background in accounting and recently completed a 10-year stint as accounting manager for International Legal Technology Association, a nonprofit member organization that recently moved its financial headquarters to Chicago.

Please join us in welcoming Cristin to the TMEA family.

Be a Music Education Advocate As the new school year begins, it is important to understand your addition role as a music education advocate.

TMEA leaders work throughout the year to communicate with state decision makers about the value of music education for all students. Likewise, it’s most important for you to do the same at the local level.

If you don’t know where to begin, review the following webpages: • www.tmea.org/localadvocacy • www.tmea.org/makingacase • www.tmea.org/advocacymaterials

As an advocate, it’s also important to know how music education is provided for in law. To gain a high-level understanding, go to www.tmea.org/ whatthelawsays and download the graphic available there to share with colleagues and administrators.

Thank you for everything you do to provide the highest level of music education for every child and for extending your role to include that of music education advocate. Please contact me at rfloyd@tmea.org or 888-318-8632 ext. 101 if you need help or more information about being an effective advocate.

Everyone Can Use a Hand The TMEA Mentoring Network is a program of one-on-one mentoring for new teachers and those new to Texas.

If you need a mentor, sign up.

If you can serve as a mentor, sign up.

www.tmea.org/mentor Southwestern Musician | August 2018 13

Vast opportunities.

Your musical future is wide open. At the Talkington College of Visual & Performing Arts School of Music, we’ll help you turn your passion and raw talent into a professional career as a performer, educator, scholar, and innovator.

Broaden your horizons across 26 major ensembles and countless chamber ensembles.

There’s no limit to where your creativity and commitment will take you.

Vastly different.

Texas Tech University’s J.T. & Margaret Talkington College of Visual & Performing Arts welcomes Kim Walker as the new Director of the School of Music.

Visit us at music.ttu.edu

TTUSchoolofMusic

Welcome, New Members!

Texas Music Educators Association is an organization of over 13,000 school music educators dedicated to promoting excellence in music education.

We hope we can be of service to you as you begin this exciting career or, if you’re just new to Texas, as you navigate our processes for you and your students!

We want every new teacher to succeed in this rewarding career!

Below are a few ways TMEA is working to ensure you experience that success:

www.tmea.org Our website offers access to TMEA programs, important organization business, teaching resources, advocacy materials, and much more.

TEACHING RESOURCES • Music TEKS you are required to teach • Answers to teachers’ common questions • Tips for new teachers

Top Priority for New Members Region Meetings

Liability Insurance

Critical information about programs and student opportunities are shared at your Region meeting. See page 2 for your meeting’s location and time, and if you don’t know what Region you’re in, go to www. tmea.org/findmyregion and look it up by your school district’s name.

Every educator should maintain this important coverage. TMEA offers an annual $30 policy as a member benefit. Whether you purchase through TMEA or another organization, get covered.

MUSIC EDUCATION IN THE LAW Learn how Texas law supports music education for every student and get updates on state-level actions that affect your work.

ADVOCACY MATERIALS Download print and video resources to distribute at concerts and meetings.

DIVISIONAL OFFERINGS Each division has its own section of the website for their programs and updates.

TMEA PROGRAMS From the Job Services section, to the Mentoring Network, Auditions, Scholarships, and more, you can learn about all of our offerings online.

Mentoring Network Every new teacher (and those new to Texas) can benefit from a mentor. TMEA offers this program to its active members. You will be connected with a veteran teacher who is ready to help you succeed!

Connect with Us Join the TMEA community on Facebook, Twitter, and Google+.

Contact Us If you have questions you can’t answer, don’t hesitate to contact us. We are here to help you succeed, and while we might not have every answer, we will always help you find it.

Go to www.tmea.org/contact.

2019 TMEA Clinic/Convention February 13–16 • San Antonio, Texas

MUSIC INDUSTRY PARTNERS TMEA wouldn’t be able to offer the current level of support to teachers without our music industry partners. Find contact information on our exhibitors and licensed vendors online.

CLINICS • CONCERTS • EXHIBITS

www.tmea.org/convention Southwestern Musician | August 2018 15

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B Y

J O H N

BAND NOTES

C A R R O L L

In Memoriam Rex Sagle December 3, 1937–February 15, 2018 Richard Bass June 12, 1943–May 26, 2018 Fred Stockdale December 11, 1933–June 6, 2018

August—Renew your membership and register for the convention.

August—Attend your Region meeting (see page 2).

August 1—Deadline for waivers to the audition process to be received at TMEA headquarters.

August 20—Liability insurance purchased through TMEA expires.

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

September 15–October 1—All-State Jazz audition recordings may be uploaded.

October 1, 6 a.m. CT—Convention housing reservation system opens for members.

November 1—TMEA scholarship online application deadline.

December 31—TMEA mail/fax convention preregistration deadline.

January 12—Area Band and Vocal auditions.

January 24—TMEA convention online early registration deadline.

February 13–16—TMEA Clinic/ Convention in San Antonio.

Mentors can benefit us all

B

y the time you read this, we will already be looking forward to the next school year, and many of us will be involved deeply with summer band preparation. Did you accomplish what you wanted to during the summer? Here’s hoping you were able to take that bucket-list trip, make advancements on that graduate degree, or enjoy some much-needed extra family time. In any case, the fun of the next school year is upon us.

One thing I have done this summer is to give much thought to the ones who blazed the trail for the rest of us—our mentors, our own band directors, our colleagues we admire, and our heroes in this profession. There are so many directors to whom we owe an immense debt of gratitude. I could start naming them, but it would take columns and columns to do so, and then I would still accidentally leave many off the list. For the moment, suffice it to say that I am indebted to a huge number of men and women who have guided me and taught me along the way. I wish indeed I could thank each one in person—some have already passed away. If I could speak to each, I would tell them thank you for

This is a give and take profession. I urge you to welcome help and assistance, and to offer to do the same for others when appropriate.

Southwestern Musician | August 2018 19

loving this profession, thank you for making it a great avenue to teach young people, and thank you for doing things in the past that make our job in 2018 that much better.

Speaking of mentors, there is something happening in our profession now at a higher level than was happening at the start of my career. We are seeing a community of retired directors who are still giving and teaching, by serving as mentors and consultants to directors still actively working. Notice I did not say â&#x20AC;&#x153;young directors.â&#x20AC;?

These retired mentors/consultants can benefit us all. They can offer those of us with more years of experience even more insight

and newer, more efficient ways of teaching.

As we start this new year, I urge you either to seek another set of eyes and ears from time to time or to make yourself availableâ&#x20AC;&#x201D;as your job permitsâ&#x20AC;&#x201D;to help others. This is a give-and-take profession.

I urge you to welcome help and assistance and to offer to do the same for others when appropriate. There is no greater resource we have than what each of us has to offer.

TMEA offers its members access to the Mentoring Network. If you want guidance from a mentor or if you are willing to offer that guidance, go to www.tmea.org/ mentor to sign up today.

Texas Bandmasters Association Convention I would like to express appreciation to TBA and its leaders for hosting their annual convention/clinic. Though this event occurred after I submitted this column, I can say that the TBA Board of Directors always hosts a high-quality conference, with great clinics, concerts, and a wonderful exhibit show. Thanks go to TBA for providing this professional development opportunity and for allowing TMEA time during the convention for our Honor Band sessions and organizational meetings.

2017â&#x20AC;&#x201C;2018 Memberships Have Expired!

All TMEA 2017â&#x20AC;&#x201C;2018 memberships expired June 30. Also, if covered, liability insurance expires August 20.

Renew now to ensure you receive the benefits of your TMEA membership for the entire year.

Renew Online Today Just click Renew from www.tmea.org Membership â&#x20AC;˘ Renew Existing Membership â&#x20AC;˘ Become a New TMEA Member â&#x20AC;˘ Reset My Password â&#x20AC;˘ Update Member Information Verify and update your email and mailing addresses. Your receipt and membership card are sent to your email address.

Renew each year and show your support for music education for all Texas students!

20 Southwestern Musician | August 2018

Thank you for your membership in TMEA! Our association continues to be the largest state music educators association in the country, and for that we are justly proud.

The strength of TMEA, however, is not only in its size but in the quality of its membership.

The strength of music programs in our schools is rooted in the dedication of its teachers, all united in a mission to provide the best music education for all Texas schoolchildren.

Membership in an organization of over 13,000 music eduFDWRUV FDUULHV ZLWK LW EHQHÂżWV inherent from this strength in numbers. TMEA is your voice to the Texas Legislature and the State Board of Education.

In addition to representation by TMEA leaders, members enjoy D P\ULDG RI EHQHÂżWV LQFOXGLQJ

access to group health insurance, low-cost liability insurance, professional development opportunities, online and printed pedagogical and advocacy resources, and more.

TMEA strives to provide meaningful professional development for our members and wonderful opportunities for our high school students through the audition process and through Texas Future Music Educators.

Renew today to continue supporting the future of music education in Texas.

If you have any questions about renewing or about TMEA programs available to members, contact Membership Manager Susan Daugherty at susand@tmea.org or call TMEA at 888-318-8632.

Renew now, and remind your colleagues to do the same!

TMEA Membership Renewal and Convention Updates Please remember to renew your TMEA membership. This can easily be done online at www.tmea.org/renew. You may also renew by mail, email, or fax. Your previous membership expired on June 30, no matter when you renewed it. If you purchase liability insurance through TMEA, be certain to renew that as it expires August 20. While TMEA offers a low-cost coverage, if you donâ&#x20AC;&#x2122;t purchase through us, be sure to get liability coverage somewhere if you teach privately or in a classroom.

And, with audition entry dates approaching in the fall, itâ&#x20AC;&#x2122;s just one more reason to renew today.

2019 TMEA Clinic/Convention Itâ&#x20AC;&#x2122;s never too early to share excitement about our next convention, and with that in mind, Iâ&#x20AC;&#x2122;m pleased to announce our All-State conductors and featured clinician. More information about each will be offered in future issues of the magazine. â&#x20AC;˘ Steve Davis, University of Missouri/ Kansas City (All-State Symphonic Band) â&#x20AC;˘ Jamie Nix, Columbus State University (All-State Concert Band) â&#x20AC;˘ Robert Carnochan, University of Miami (5A All-State Symphonic Band)

Attend Your Fall Region Meeting STAY CONNECTED & INFORMED See page 2 for details.

â&#x20AC;˘ Conrad Herwig, Rutgers, the State University of New Jersey (All-State Jazz Ensemble I) â&#x20AC;˘ Dana Landry, University of Northern Colorado (All-State Jazz Ensemble II) Our featured clinician will be Craig Kirchoff, Director of Bands Emeritus, University of Minnesota.

Band Division Volunteers Please consider serving as a convention volunteer. It takes hundreds of individuals to produce a successful convention experience for our membership. There are many roles in which you can serve and give back to the organization at the convention. We need you! Please go to www.tmea.org/ bandvolunteer to submit your information and availability.

Band Division Updates It is important to attend your fall Region meeting. There are always important dates, agenda items, and much more to discuss and learn at these meetings.

By the time you read this, the TMEA All-State audition etudes will be posted on the website along with performance guides and errata. The website is the official posting of these items, and September 1 is the deadline for errata submissions. Thanks go to this yearâ&#x20AC;&#x2122;s etude selectors for their musical expertise and presentations at the TBA conference. The All-State Entry will be online when the Region Chair creates

the contest in your Region.

Sincere thanks go to those dedicated educators who served as judges, Area Listening Center Chairs, contest hosts, playback operators, and room monitors for the TMEA Honor Band process. Next month, we will announce the finalists and ensembles who will be presenting honor band concerts at the 2019 TMEA Clinic/ Convention.

Congratulations to the Texas ensembles invited to perform at the Midwest International Band and Orchestra Clinic in Chicago in December. Itâ&#x20AC;&#x2122;s always with great pride that we see so many Texas music ensembles performing at this prestigious event. If you attend the Midwest Clinic, please support our Texas ensembles with your presence in the audience.

For a list of all performing groups, go to www.tmea.org/midwest.

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Making the Most of

REHEARSAL TIME

By Kristina R. Weimer

W

ith limited instruction days and time, music teachers can easily feel like they’re playing a game of beatthe-clock. Before we know it, precious rehearsal time can quickly disappear. If your class is 45 minutes long and students spend 5–8 minutes at the beginning of rehearsal assembling their instruments and getting ready to play and another 2–4 minutes at the end of the rehearsal putting everything away, you can lose 7–12 minutes of each rehearsal. Over the course of a week that adds up to 35–60 minutes—a full rehearsal or more—solely dedicated to starting and ending. If each week is structured this way, like a growing debt, lost rehearsal time begins to compound.

What follows is a simple three-minute strategy I used to establish expectations and procedures at the beginning of rehearsal.

This strategy eliminated wasted minutes and promoted a smooth and successful start to each rehearsal. And while three minutes might not sound significant, when added up over the days and weeks, you will enjoy the dividends of that compounded rehearsal time.

With our ensembles, I used a threeminute drill at the beginning of class to establish structure and routine, getting everyone to their seats with all necessary materials, focused, and ready for rehearsal. As soon as the tardy bell rang, I started a timer set for three minutes (you can make it more visual by projecting the countdown).

Students and the teacher have responsibilities during these three minutes.

Student Responsibilities 1. Enter the classroom in an appropriate manner. The three minutes is in addition to the time allowed to travel between classes. I taught in a small school where students had three minutes to travel between classes. If they entered the room before the tardy bell rang they had that time as well. Visiting with friends is fine, if they can manage their time and tasks.

2. Completely assemble their instrument in proper working condition. This includes oiling valves if necessary, and getting a working reed in place. Percussionists must work together to have all equipment necessary for the day’s rehearsal set up and ready to play—timpani tuned to the proper pitches, all mallet instruments uncovered and in place, and all accessories, stands, and mallets out and properly placed in appropriate areas.

3. Gather all necessary materials.

All students must have their folder with their method book, all repertoire, and a pencil inside. They must get their music in rehearsal order and place it on the stand with their pencil. I assigned each student a folder and expected them to keep their book, repertoire, and pencil in it. They were also assigned a folder slot, so essentially, they only had to grab their folder, bring it to their stand, and put things in order.

Like with any change, consistency and repetition are key.

22 Southwestern Musician | August 2018

Teacher Responsibilities 1. Have materials clearly listed on the board. Prior to class be sure to have everything students need to successfully set up for rehearsal. On the board, I stated the day’s objectives so students would know our daily goals and the rehearsal order (including warm-ups, method book page or example numbers, and repertoire when applicable). I taught three bands (6th, 7th, and 8th grade) and assigned each a different section of the board and used a specific color marker so they could easily find their information. I completed this before leaving the previous school day to avoid rushing in the morning or in between classes.

2. Make sure your timer is accessible when the tardy bell rings.

I carried the timer in my hand, as I was expected to be in the hall outside the classroom door monitoring students as they changed classes, and greeting those who entered the room. As soon as the tardy bell rang I would hit start, then walk inside and set it on my stand. Students were free to look at it to see what time remained. If you are using your phone it is easy to keep it in a pocket or have it close by ready to start when the bell rings, and you could project it on a board or wall.

3. Have all your materials in order. You will lose credibility if students see that you are disorganized and unprepared as you dig through a pile of scores to find today’s repertoire. If you use visual aids such as rhythmic patterns for warm-ups or repertoire, make sure they are on the board or on flashcards ready to use. Audio aids such as recordings should also be ready. If you are using instruments to demonstrate, ensure they are assembled and quickly accessible (model this behavior for your students). As they are setting up and getting seated, walk around to be sure students have all materials. Keep an eye on the timer. As it approached 30 seconds I would go to the podium. This gave them fair warning that rehearsal was about to start, and time to quickly finish getting ready if they weren’t already in their seat.

4. Create a nonverbal plan to start rehearsal. If you start rehearsal by talking instead of playing right away, students will take longer to get settled. Play immediately and save announcements for the end of rehearsal. I used a number of strategies. Sometimes I would use echo patterns—singing or playing. I would sing or play a short melodic pattern or chant a rhythmic pattern (relevant to the day’s objectives), and students would echo. This was a great way to work playing by ear into our rehearsals. I also used Curwen hand signals. I would state “concert __” and then show do while students played the correct pitch. Other times I would start playing recorded music, give the instructions “do as I do,” and lead students through a movement sequence using rhythm patterns found in the repertoire to establish rhythmic feeling.

with a warm-up or activity relevant to your objectives. The instant the timer went off, rehearsal began. Any student not in their seat was counted tardy, which was noted in their attendance. Students earned 5 daily preparation points as part of their overall grade.

One point for each: having their instrument in proper working order, method book, repertoire in folder, pencil, and being on time (ready when the timer went off). With my classes, I was able to easily keep track of everyone. As students were setting up and getting seated during the three minutes I walked around with the gradebook and marked points in their daily slot, from 1 to 5. If I didn’t get everyone before the timer went off, I could check students in between pieces or activities. It was not uncommon for me to walk around during rehearsal anyway. As for tardy students, if I were singing or using Curwen hand signals to begin rehearsal I could easily write names. If I were playing an instrument I made mental notes and jotted names in between pieces or activities. For larger classes perhaps an assistant or a student leader could be in charge of noting preparation points, should you choose to include them in your grading system.

Like with any change, consistency and repetition are key. I inherited a program with little structure or routines in place— time not well-managed. When we first began this exercise I heard complaints, mainly griping about not enough time to get ready, but once they saw it could be done with time to spare, things began to move smoothly. I used positive reinforcement (verbal praise or high-fives) with those who were ready to participate with time to spare, and it really didn’t take long for all students to settle in to this routine. Many times, I was able to stop the timer because everyone was ready before three minutes was up, and we began even earlier. Regardless, I continued using the timer because I didn’t want to lose our established routine or change expectations.

The time it takes to make this a habit may vary depending on class dynamics, but just keep at it. Focus on the positive, ignore the negative comments or complaints, and enjoy a smoother start to each rehearsal.

Kristina R. Weimer is an assistant professor of music education at the University of Texas Rio Grande Valley.

Have a Story to Share?

However you choose to begin rehearsal, I believe it is important to begin nonverbally

Many of our best feature articles are written

by TMEA members like you.

Perhaps you have developed an effective teaching method, found a new technology that helps make your work more efficient, or have successfully built administrator and community support. SOUTHWESTERN MUSICIAN provides a venue for sharing your ideas with your colleagues around the state.

For magazine submission guidelines, go to www.tmea.org/magazine.

Southwestern Musician | August 2018 23

Learning Music Theory & Loving It...

Imagine that!

As a new teacher, and new to W.F. George Middle School, choir director Hannah Espinoza was given a challenge to grow the music program and have them competing at UIL (University Interscholastic League).

Hannah needed a way to get her younger students up to speed in one short year. The students entering the sixth grade had absolutely no music background, but by seventh grade they were expected to enter UIL musical competitions.

Enter Breezin’ Thru! Hannah liked that the program was online and could be accessed through the students’ Chromebooks — and any other device for that matter!

Breezin’ Thru puts accountability in the kids’ hands.

Every Monday is “Music Theory Monday.” Hannah walks them through the lesson and answers any questions the students may have, and then the kids are off and running with their drills, which need to be completed at the end of the week.

“Their goal is to get 100%,” she notes. “They can do their drills on their own (at school or home), and practice until they get it right. And I can build on the lesson throughout the week.”

Hannah uses Breezin’ Thru Theory across all grades, and takes full advantage of all the fun activities and friendly competition, like the dashboard tracking of Student of the Month. “I reward the student with a Sonic drink – and they get to drink it in class!”

Hannah laughs.

Hannah says, “This is the second year we’ve been using Breezin’ Thru Theory and my kids are so much better at sight reading and understanding musical concepts. Even at competitions their scores are improving. Last year my students were Level 4 in sight reading, we’ve already increased to Level 3 this year, and by next year we expect to be at Level 2.”

And, it’s incredible what Hannah has achieved so quickly. The Grade 6-7-8 music program has grown from 50 students two years ago to 200 kids today.

Well done, Hannah! At Breezin’ Thru we’re so proud of all of the amazing music teachers that help their students reach new musical heights!

“ love Breezin’ Thru Theory Next Gen! “I Other kids are seeing how fun learning music theory can be and they want to be a part of it.

I even had a band student come up to me asking how he could do it too! Things are everything I hoped and dreamed they would be! The program has helped tremendously.”

— Hannah Espinoza, Choir Director

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ORCHESTRA NOTES

B Y

B R I A N

C O A T N E Y

Healthy competition

W

elcome to the new school year! I would like to extend my sincerest gratitude to the TODA Board for planning a fantastic summer convention. When I submitted this column, the event was still in the future, but I’m confident that just like in years past, we all learned a tremendous amount and enjoyed catching up with old friends and meeting new ones.

These conventions are always a great reminder that we aren’t alone or on our own island—there are many resources for us to utilize throughout the year.

If you are a first-year teacher or are new to Texas, be sure to enroll in the TMEA Mentoring Network, as it will be an invaluable resource for you throughout the year. I hope everyone is excited about the new school year as you continue your long-standing traditions and experiment with new concepts.

I encourage you to institute the 4 Disciplines of Execution if you plan to change any aspects of your program (which I covered in my columns last year, accessible at www.tmea.org/emagazine).

One of the many benefits of following a father who also served as TMEA Orchestra Division Vice-President is the opportunity to read his copies of Southwestern Musician from 1989 and 1990. In October 1989, William May, College Division Vice-President, wrote an interesting article about competition that made me contemplate my belief system. He explains how important competition is in Texas and that competition represents a major portion

Music groups are the best place to promote a culture where healthy competition helps teammates achieve the best result individually and for the team.

26 Southwestern Musician | August 2018

August—Renew your membership and register for the convention.

August—Attend your Region meeting (see page 2).

August 1—Deadline for waivers to the audition process to be received at TMEA headquarters.

August 20—Liability insurance purchased through TMEA expires.

September 1—Deadline to submit AllState etude errata to the Orchestra Division Chair.

September 15—HS String Honor Orchestra Part A online submission deadline.

October 1, 6 a.m. CT—Convention housing reservation system opens for members.

November 1—TMEA scholarship online application deadline.

December 31—TMEA mail/fax convention preregistration deadline.

January 24—TMEA convention online early registration deadline.

February 13–16—TMEA Clinic/ Convention in San Antonio.

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of TMEA. However, he questions at what point competition becomes unhealthy for students and programs. May explains that he has three fundamental beliefs: 1. The fundamental goal of music education is to enable our students, through instruction, to use music as a valuable part of their daily lives. It is every child’s birthright to sing, dance, make music, and consume music. This right makes no distinction among people . . . It is the teacher’s role to help students gain the skills and knowledge which will facilitate this process.

2. Music is a basic, integral part of the school curriculum. It should enjoy all the benefits and accept all the responsibilities of any other academic discipline.

3. Schools exist primarily for the benefit of the students, not teachers, parents, social agenda, or the community-atlarge. Society undoubtedly benefits from good schools, but an institution, such as a school, can never be more important than the individual members of that institution, in this case, the students. Goals that focus primarily on issues external to the institution risk overshadowing the more important internal matters.

I believe his first two tenets still hold true today and are reminders of how important our profession is for students. However, his third belief is an interesting mental

shift for me. In my first years of teaching, I was driven by competition. I wanted the ensembles I taught to be the best and to win as many competitions as possible. I would get upset if our Honor Orchestra entry did not do as well as I expected. I also used to compare how many students in my program made Region Orchestra and AllState compared to other schools. I naively thought this number defined our program as stronger than another. I neglected to look at the overall progress and growth of the entire program and each student as they learned music that was challenging for them. While there is definitely merit to preparing your students to perform at a high level, I think we have to ask ourselves at what cost.

For a majority of my teaching career, I have used competition as the driving tool for our upper-level groups. Programming, class structure, and curriculum were decided by the competition we would be entering. However in our lower-level groups, we focused on teaching music concepts that gave students a holistic music education. My belief now is that my focus should be to present all classes a holistic music education. Upper-level groups had been receiving only performance experiences. I now believe I had been focusing too much on external issues rather than focusing on giving all students a wellrounded music education. I encourage you to think about your own beliefs about competition and how you utilize competi-

Texas Future Music Educators 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 for no additional fee.

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

For more information, email kvanlandingham@tmea.org 28 Southwestern Musician | August 2018

Sta r t a er chapt ll! this fa Convention onventtion Travel Reimbursement Chapters can request reimbursement of $50 per student for up to 10 chapter members for convention travel expenses. Take advantage of this great opportunity to reduce your costs!

tion in your program. As you are thinking about this, consider some common myths that May points out in his article.

Myth #1: We live in a competitive society; therefore, competition in school is mandatory because it prepares students for their place in society.

This appears to be truer than ever as parents are constantly pushing their kids to be better than their peers. The reality is that we live in an independent, cooperative society that, through competition, challenges individual productivity.

Healthy cultures work hard to improve individual performance and create a better product solely for the betterment of society. Negative cultures are ones that have the mentality that an individual must win at all cost. These negative cultures focus only on establishing superiority rather than excellence, and values aggression rather than cooperation. Music groups are the best place to promote a culture where healthy competition helps teammates achieve the best result individually and for the team. Therefore, we need to focus on each student’s individual improvement and accomplishments rather than winning a competition.

Myth #2: Competition is the only motivating force powerful enough to accomplish excellence.

While competition is a powerful force, it tends to apply only to a limited population. Competition works best for those who believe they have a chance of winning. For others who believe they cannot win, competition is a threat and most often leads to withdrawal. We have to be careful to not let our own ambitions of winning competitions drive some students into an uncomfortable situation. Winning a competition should be the result of great teaching and a collaborative culture in which everyone strives for individual and group excellence.

Myth #3: All competition is bad.

When handled properly, competition can be incredibly positive and a powerful tool. But we must keep ourselves in check.

To help us, May laid out some questions we can ask ourselves.

1. Is your curriculum structured according to a series of events rather than a series of concepts?

2. If your group finished fourth in a statewide contest, would you express disappointment to your students

for not finishing higher, rather than delight in finishing as high as they did?

3. Do you choose music based on student needs or based on the piece’s winning qualities?

4. Do you have a slogan with the word winning but without the word excellence on display in your classroom?

5. Do you leave contests without having your students hear any other group’s performance?

Myth #4: I am powerless to change my current practices and attitudes regarding competition.

May’s counter to this myth is genius: “Competition can be a wonderful tool.

Preparation for All-State auditions can be an extraordinary learning experience.

Pride in accomplishment can be a longlasting positive influence in one’s life. The joy of overcoming personal limitations through competition can be the single most memorable experience of a lifetime.

We cannot afford to deprive our students of such experiences. Neither can we afford to be in league with those who would

exploit or misuse such experiences. Music is not a game to be played upon a field of honor with spoils going to the victor.

Music is an academic and emotional discipline of great worth. Those who perpetuate the notion that music is a game to be won or lost endanger its very existence in the curriculum . . . May we all work together to protect that concept. We are not powerless.

We are the ones who choose.”

My goal this year is to give all our students a holistic music education and to focus less on competition. Some people might think that spending class time on these concepts will result in less prepared performances. However, I have concluded that it is better for my students to have a solid understanding and appreciation for all aspects of music rather than remembering a few pieces and performances. My hope is that our program will be healthier and an example of what is possible in a collaborative society that will be a longlasting positive influence. I have a feeling that the change in focus will not only result in performances of the same, if not higher, level of excellence, but also significant improvement and enjoyment by all our students.

Honor Orchestra If you ever want to see and hear the benefits of healthy competition, then attend one of the Honor Orchestra sessions. The performances are truly remarkable and the level of music these groups perform is truly inspirational. I received positive feedback from the revised critique sheet as well as the continuation of distributing the judges’ comments to the directors, so we will continue with this process.

I would like to extend a special thanks to the judges, hosts, and volunteers who helped with these three extraordinary contests. The results from the contests will be published in upcoming issues of Southwestern Musician and online.

Renew Your Membership All TMEA memberships expired on June 30. If you haven’t already, be sure to renew your membership and register for the convention. Also, if you don’t get it elsewhere, be sure you purchase liability insurance coverage. Whether you teach privately or in a classroom, this is coverage each of us should maintain. If you had coverage through TMEA last year, it expires on August 20.

Southwestern Musician | August 2018 29

T R AV E L + L E A R N + P E R F O R M

Creating an Environment for Success in Middle School Choir

By Anne Sieloff

M

iddle school is a complex, ever-changing, and often mystifying beast. As middle school teachers, we have made it our mission to guide and love the students in this unique world. As choral directors, we are fortunate to have an environment in which we can facilitate authentic opportunities for creativity and self-discovery that make this journey effective and worthwhile for our students. However, as a less experienced teacher, the fundamentals of running a choral classroom can be so daunting that the passion, creativity, and camaraderie you dreamt of sharing with your students can begin to seem unattainable. Mastering the fundamentals of the middle school choral classroom is crucial for creating a successful learning environment that facilitates inspiration for our students.

Vocal Technique from Day One Beautiful choral tone begins on the first day of school. Students with limited or no choir experience are still able to quickly catch on and join in a choral warm-up. Vocal technique is primarily addressed during the warm-up process, so this part of rehearsal should be treated with importance and planning. It sets the tone for the rest of your rehearsal.

Physical activity is crucial to a complete choral warm-up. It engages and energizes the body. Middle school students should feel and experience the level to which their bodies must be engaged to support a healthy sound. Verbal explanation of this concept is not enough. Some of my favorite physical warm-ups

include the following: • Shake out: shaking each limb and counting to 8, then 7, then 6, and so on.

• Echo clapping and movement: tapping your shoulders or nose, patting your knees, funny dance moves, and more.

• Stretching • Four behind me: exactly like echo clapping and movement, but the pace is much faster. The leader moves to the next fourcount pattern demonstration while the choir is starting the echo.

I often follow my physical warm-up with breathing exercises.

Breathing is the foundation of a beautiful choral tone, and it must be practiced regularly, particularly at the beginning of the year.

Teach the look and feel of a deep and full breath in as many ways as possible—with demonstration, description, and metaphor.

Every student must understand the different parts of their voice.

Our voices are split primarily into head voice, chest voice, and a mixture of the two (mixed voice). Young girls should be singing almost exclusively in their head voices, only occasionally mixing in a chest voice sound. For boys, the divide between voices is much more obvious and tricky to maneuver. I teach boys the three parts of their voice (head voice, mixed voice, and chest voice) by giving corresponding sounds for each voice part: Southwestern Musician | August 2018 31

• Head voice: We speak the word hello à la Mrs. Doubtfire, the gingerbread man from Shrek, etc.

• Mixed voice: I set this up with a scenario about convincing our parents that we need something (ice cream, the keys to the car . . .). We say “Dad, please can I have the keys to the car?” in a light, floaty, mixed voice. The key to finding this mix is that the speaking is not loud. That imploring voice works well to help them find that placement.

• Chest voice: We speak the words oh yeah in a very deep, manly, and, of course, cool voice.

Spend a significant amount of time having young boys work in their head voices. It helps them sing high without shouting when their voices are changed or unchanged. The mixed voice will never work properly without understanding of their head voice and falsetto.

• Rest a golf ball or ping pong ball on your tongue (figuratively, thinking about how it would feel). This also helps with head voice/soft palate being lifted.

Sightreading and Music Theory It is important to practice sightreading every day. To get started, every choir classroom should have a solfège scale, preferably with pictures of the hand signs, on the wall. Begin teaching solfège syllables by simply having students chant and hand sign the syllables very slowly. Have them echo you. Read them off the wall. Take it slowly because some students have never seen them before.

Teach your students the arpeggio (do mi sol mi do sol do). Singing this arpeggio before every sightreading exercise is a great way to introduce the syllables and hand signs in combination with pitch.

For young tenors/unchanged male voices, use only high sol in the arpeggio because

It is our duty to give our students the opportunity to create an outstanding product and to achieve success at the highest possible level.

We then apply the navigation of different vocal registers to a well-rounded vocal warm-up. We work on an energized sound that utilizes proper breath support, using kinesthetic movement to achieve the desired effect. A great deal of time must also be dedicated to vowel production.

Tall, round vowel shapes make our sound beautiful, and there are numerous ways to describe what we are looking for and to practice it during warm-ups. Some of my favorite vowel-focused warm-ups that also can utilize kinesthetic movement are the following: • Zee oh (do sol—fa mi re do): Pull a string from the top of the head (to encourage head voice and connected sound), “throw a Frisbee,” and tell students to keep their “corners in” or “open a window” in the back.

Crescendo on the top note to work musicality.

• Nee Neh Nah Noh Noo: Use hand motions for each vowel.

32 Southwestern Musician | August 2018

low sol is too low for most of these students. This knowledge can be applied to the students’ first sightreading excerpt by notating the arpeggio on the staff for them to read (rhythm may be excluded by simply using whole notes on the staff). The students will recognize the intervals and how they should sound because of their prior experience with the arpeggio. While learning to sightread pitch, teach the reading of rhythm separately. Write rhythm patterns on the board for your students to count using numbers but with no pitch.

Beginning and middle school students should sightread in unison as long as necessary. Start by using skips that are in the arpeggio and stepwise motion. Once these concepts are mastered, teach the skips in the IV and V chords and continue to add rhythmic difficulty with one concept at a time. Think of each note value and interval as a vocabulary word that must be used and practiced before it is memorized.

The keys of F and G are most commonly used in middle school UIL contest sight-

reading, but it is important for your students to be capable of reading in all keys and understanding how the information transfers. My favorite catch phrases for finding do while sightreading are: • Final flat falls on fa.

• Tic-tac-toe the last sharp is ti.

• If we “C” no sharps and we “C” no flats, C is do.

Teach your students how the sightreading process works at contest. Opinions on where to focus vary, but I teach my students to chant, audiate, and then sing.

Audiation should include handsigning and mouthing the syllables. I tell my students to “be a mime.”

Depending on the abilities of my beginning groups, I usually introduce the concept of sightreading in two parts sometime after winter break. Have the students read each part separately first and then combine them in short, four-measure exercises. If you have a beginning boys’ class with no changed voices and want to try two-part sightreading, read two parts in the treble clef as long as necessary. You never have to sightread in the actual key in which the music is written. I use A or A-flat for seventh- and eighth-grade boys, B or B-flat for sixth-grade boys, and F-sharp or G for girls. Near the end of the year, I introduce reading in the bass clef to sixth-grade boys (even if their voices are unchanged) so it won’t be completely foreign if they return after the summer as a bass or become a bass in the future. Even with all these tools, it is essential to understand that multi-part sightreading will not be successful if your students cannot read in unison first.

Applying Concepts to Repertoire The concepts of vocal technique and sightreading can be applied during class in many ways. Regular concerts allow students to show off their hard work and progress.

My cardinal rules for repertoire are: 1. Start from the beginning. Every time.

Remember that reading music is completely foreign to almost all of our beginner students in the fall. We must start from the beginning by showing them the staff, clefs, barlines, and measures. I have my students point at their music to follow along, and I enforce this rule even in my varsity classes.

2. It is more important to teach key concepts than large volumes of music. Do not feel pressure to program lengthy concerts.

3. Nothing is written in stone. Transpose that piece that isn’t in a great range for your boys. Two parts aren’t working for you? Have everyone sing the melody on that part and focus your energy on musicality and beautiful tone.

4. A healthy sound and proper intonation are always the most important. Do not sacrifice tuning and healthy tone for that exciting crescendo and sforzando at the end of your piece. Once proper tone production is ingrained and trusted to muscle memory, you can add in the more exciting aspects of the music. You cannot backtrack and ask your students to sing in tune later in the year, after it has been sacrificed.

5. Challenge your students. Once the students have mastered beautiful choral tone, select music that pushes their musicality skills to full potential.

Teach dynamics, phrasing, and word stress. Beginners are not too young or inexperienced to learn how to put feeling and emotion into their art.

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In addition to concert repertoire, never underestimate the power of solo and ensemble preparation. Utilize this opportunity to work one-on-one with your students and to have them sing in small groups. It teaches independence, and students are thrilled by their own bravery and success. One of my favorite solo and ensemble tactics is to teach an ensemble piece (or two) to the entire class and then split them into smaller groups to perform.

If your choir learns multiple pieces, give

your students the opportunity to choose their ensemble piece for added ownership.

The smaller the group, the more independence is required, so make those choices based on your own knowledge of your students’ skill levels. Even a group of twenty will feel small if your students are accustomed to a sixty-person chorus.

A deep passion for solfège, handsigning, numbering measures, and beautiful vowel shapes may not have led you to your profession in choral music. However, it is our duty to give our students the opportunity to create an outstanding product

and to achieve success at the highest possible level. With these tools, you can create success in your classroom, and there is no better motivator or recruitment tool than students experiencing the thrill of their hard work paying off and realizing they are great at what they do. This quality learning and team success facilitates the perfect environment for friendship, belonging, and creativity.

Anne Sieloff is the head choir director at Nimitz MS (Ector County ISD).

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Southwestern Musician | August 2018 33

2019 TMEA Clinic/Convention

34 Southwestern Musician | August 2018

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February 13–16 San Antonio, Texas

VOCAL NOTES

B Y

D E R R I C K

B R O O K I N S

In Memoriam Charles Wade Nelson March 13, 1926–June 01, 2018

Get ready, set, go!

A

ugust is one of my favorite months of the year.

It’s an opportunity to start afresh. Welcome to the start of a new school year! I hope you’re all returning from a much needed and deserved few weeks of rest and relaxation. If you are new to the profession, hold on. You’re in for a life-altering journey.

My first bit of advice to our new teachers is to speak up.

It’s very easy to become overwhelmed and over stressed in a new position. Never be afraid to speak up and seek help from others. My second piece of advice to new teachers is to find a mentor in your district or within your Region. Identify an experienced teacher who would be willing to spend a little time (perhaps once a week) with you to offer help, guidance, and perspective on where you are. If you need help locating a mentor, enroll in the TMEA Mentoring Network at www.tmea.org/mentor. Access to this network is a benefit of your TMEA membership.

I sometimes believe we put such an importance on new teachers connecting with mentors and speaking with colleagues in the field that we neglect the need for experienced teachers to do the same. Too often experienced teachers can find themselves in a successful rut. It’s difficult to compete against yourself every year. We all need to have a trusted colleague who we can talk to about things happening in our choral program and who will take time to care about our well-being. For as many rewards, challenges, ups, and downs that teaching presents, if we’re not intentional about reaching out to others, we can find ourselves working in a very lonely position.

If we’re not intentional about reaching out to others, we can find ourselves working in a very lonely position.

36 Southwestern Musician | August 2018

August—Renew your membership and register for the convention.

August—Attend your Region meeting (see page 2).

August 1—Deadline for waivers to the audition process to be received at TMEA headquarters.

August 20—Liability insurance purchased through TMEA expires.

October 1, 6 a.m. CT—Convention housing reservation system opens for members.

November 1—TMEA scholarship online application deadline.

December 31—TMEA mail/fax convention preregistration deadline.

January 12—Area Vocal and Band auditions.

January 24—TMEA convention online early registration deadline.

February 13–16—TMEA Clinic/ Convention in San Antonio.

Start the Year Off Right Part of ensuring a successful start of the school year is proper planning and clear communication. Preparing a complete calendar of choir events for the year can be a daunting task. Be sure to consult your campus master calendar and mark all the major events in your calendar. Try to understand the big picture of your students’ involvement throughout school and beyond. This is especially important if you’re on a small campus where most students participate in multiple organizations. Don’t schedule a choir concert against other major events on campus. This puts students (and you) in a stressful position.

Keep in mind that you may have parents who have one or two kids in your program and other children in your feeder program across town. Scheduling concurrent events will only divide your audience and not put you in the best of light. I understand that in some cases, conflicts can’t be avoided, but make a commitment up front to collaborate with colleagues to set the best possible schedule. Your students, parents, colleagues, and administration will appreciate it.

A good friend and mentor offered me two pieces of advice I continue to keep in mind when dealing with scheduling issues: 1. Ask yourself whether this is the hill you want to die on.

2. Never assume that others will (or should) change to accommodate you.

Teamwork and mutual respect demonstrate your appreciation and regard for others.

Be sure to meet with your feeder school directors to review the calendar and yearly plans. As things change with the campus master schedule (which affects the choir calendar) be sure to communicate them with all directors. You and your colleagues can decide who is able to change and adjust more easily.

One of the most important lessons you’ll ever teach your students (with respect to the yearly calendar) is the art of problem-solving and conflict resolution.

How many times have you distributed the choir calendar for the year, published it on the choir website, and sent out email reminders, only to much later have your soprano section leader tell you she needs

to miss the UIL concert because the drill team has called a much-needed practice for their spring trip? To make matters worse, her parents call you to tell you how wrong you were to place a contest on top of practice, and that you should be more understanding.

Communicate calmly and be approachable when a student notifies you of a conflict—it will happen. Be sure to let your students know that throughout the year, and in life, conflicts will occur, but with enough advance notice and communication, most can be resolved. Often the students (and sometimes the parents) are only looking at the issue with a singular vision.

Understand that we teach more than just choral music and sometimes we have to teach parents as well as students. In addition to lifelong learning of choral music, we need to show others how to look at things from a different perspective.

As we begin a new school year and with what seems like a thousand things to prepare, my final piece of advice to you would be to stop, breathe, be in the moment, do the things that need to be done today, and when the day is over, it’s over. As I’ve stated

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Southwestern Musician | August 2018 37

before, a more concentrated, centered you only benefits your choir more. A stressed out, overwhelmed, thinly spread you benefits no one. Allow me to share one of my favorite quotes from Gary Zukav’s book The Seat of the Soul: Allow yourself to become aware of what you feel. Give yourself permission to choose the most positive behavior in each moment. As you discharge negative energy consciously and set your intentions according to what your heart tells you, as you challenge and release your fears and choose to heal, you align your personality with your soul and move toward becoming a being of light, full, whole, and empowered, and inwardly secure. Humbleness, forgiveness, charity and love, all gifts of the spirit, take room and bloom, and you draw to yourself the best gifts: human beings with open hearts.

As we start another year, know that I look forward to serving you and working with you to offer our students the best music education possible!

The TCDA Convention will be underway when this magazine is in the

mail. I hope you were able to attend!

Congratulations to the leadership team and volunteers for presenting an outstanding convention! We appreciate their hard work and their allowing us to host TMEA meetings within their convention.

Be a Vocal Division VIP: Become a TMEA Convention Volunteer TMEA is an amazing organization filled with teachers who give their time to help keep music education alive and well across Texas. What are we missing? You! Becoming a Vocal Division VIP means becoming a volunteer. No job is too small, and all jobs are important. Consider volunteering at your Region level. A few suggestions are: Region Choir section leader, Region Choir organizer, and audition round host. As you attend your fall Region meetings (see page 2 for the schedule), reach out to your Vocal Region Chair or other Region leadership and let them know you want to get involved.

To register as a volunteer and indicate your areas of interest, go to www.tmea.org/vocalvolunteer.

All-State Audition Material The All-State audition music for the Mixed, Treble, Tenor-Bass, and Small School Mixed Choirs can be found online (www.tmea.org).

As a reminder, Region Vocal Chairs create the contests, and once contests are available, you are welcome to begin entering your students into the process. Be sure your TMEA membership is current.

Small-School Mixed Choir Update In April, a group of small school choir directors from across the state met in Austin to discuss our All-State Small School Mixed Choir audition process.

Based on this committee’s recommendations, and review by the TMEA Executive Board, updates were made to this choir’s audition process. In part, these changes include the establishment of 15 Regions and 5 Areas specifically defined for this auditioned group. Inclusion in the Regions/ Areas is based on geographical and participation data. Based on the committee’s conclusions, changes have also been made to audition literature.

For details on these and other updates, go to www.tmea.org/ssc.

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38 Southwestern Musician | August 2018

Classroom Management Tips for elementary music educators

By Tamara Kahler & Edward P. Kahler

E

ach regular classroom teacher implements their own classroom management with defined rules and procedures. As music teachers, we must be cognizant of their plans so that we can create a system that complements their plan and is effective for our unique class. However, within the music classroom, our management plans also must be based on our classroom needs and expectations (while following school policies).

Environment The most obvious consideration in the classroom environment is room preparation. The music teacher’s task is to arrange the physical space so that the environment is conducive for learning, provides a positive experience, and reduces any potential distractions. As we return to school for a new year, and especially if you are a new teacher, consider the following: Organized Seating: What type of seating works best for today’s planned instruction? Be creative to decrease the opportunity for misbehavior. For example, when using three-tiered risers, place students on the first and third rows in a stagger formation. This will minimize physical contact and increase the teacher’s opportunity to monitor behavior.

Furniture/Equipment: Consider the placement, availability, and organization of all furniture and equipment to ensure easy access by you and your students. A messy cabinet with overflowing instruments and books that is visible to students will set the wrong

40 Southwestern Musician | August 2018

tone for their experience in the classroom.

While student achievement may not be directly affected by physical space, behavior may certainly be influenced by it. Organize your space to allow for teacher observation and to prevent blind spots. A teacher who moves throughout the room is more aware.

The class needs to be safe for all students.

Bulletin Boards: Bulletin boards offer necessary information and cues for lesson information. You could display a bulletin board with a musical timeline and when you discuss composers and musical periods also discuss what was going on in the world at the same time. For example, composers like Mozart, Haydn, and even Beethoven were writing music around the same time as the American Revolution. So, a student could write “American Revolution” on a paper tag and post it on the board near that part of the timeline.

You could also use bulletin boards to display a matching game of either musical symbols and their names or composers and their works. Making a bulletin board interactive helps with students who may finish their work early and can be a resource during an activity on a day when you have centers.

Another suggestion is to have the students design the bulletin boards. As we know, students love to see their work displayed!

The room needs to be welcoming and present a feeling of creativity, orderliness, and organization. And, for some students who are more sensitive to external stimuli, it’s especially important to maintain this orderliness and not overdo the decorative elements.

Expectations The goal in our classrooms is for successful learning to take place, so expectations need to be established and followed. We need to relay and consistently reinforce those expectations. We can help our students meet them by implementing procedures, attention signals, and rules with consequences.

Procedures Class procedures need to be well developed before the first day.

Some need to be shared with the students that first day and then consistently reviewed. When thinking about procedures, consider routines, transitions, material distribution, instrument play, and general classroom guidelines. For example, to quickly communicate student body position, you could use numbers: 1 = Sit, relaxed.

2 = Sit up straight, ready to sing.

3 = Stand up.

How you begin class is a critical aspect of positive classroom management. Have students enter quietly, walk to the front of the risers and find their place according to the seating chart you have given them. Using these numbers, you or a classroom helper could say to the class “three” (stand up) and then lead the class in a warm-up.

You could also have class helpers dismiss the class by saying “front row—three, turn and line up; back row—three, step down once, step down again, turn, and freeze” (they are already in line).

This also helps keep the order of students in line consistent.

Whatever procedures you use will need to be practiced and reinforced throughout the year. However, they don’t all need to be presented the first day—many will be introduced as you deliver lessons that require new procedures.

• Treat others with respect.

• Listen and follow directions.

Boundaries: • Raise your hand to speak or get out of your seat.

• Keep your hands and your feet to yourself.

• No bullying.

Consequences: • First offense: warning (chance to correct).

• Second offense: loss of a privilege (time out).

Discuss them in detail with the students and follow them consistently so they understand the expectations.

Consistency and Caring Perhaps the most important aspects of classroom management are consistency and caring. Every day, smile and greet each student at the door by name. If someone seems to be having a difficult time make an effort to speak with them privately later that day or the next. Students need to know that you care about them.

Teach every child the way you would want your own child to be taught.

Tamara Kahler is a music teacher at Bluebonnet Elementary School (Hereford ISD) and Edward P. Kahler Ph.D., MT-BC is Associate Dean of the Sybil B. Harrington College of Fine Arts and Humanities and the Director of Music Therapy at West Texas A&M University.

Attention Signals Music teachers often work with 30+ students at a time. Many students have short attention spans and focus on other things, so effective attention signals are a critical part of classroom management. Attention signals include echo clapping, hand signs (e.g. peace sign), turning lights on and off, ringing a bell or playing any musical instrument, saying a catchy phrase (e.g. “Hocus Pocus, Let’s Focus”), blowing a train whistle, or changing your voice dynamic. Find a signal that works for you and clearly define the behavior you expect in the students’ response.

Rules and Consequences Rules need to be short and simple. Explain to students that these are strategies for classroom success. Since music teachers work with different grade levels, it is best to have rules that can apply to all classes. Discuss and model each rule.

These are examples that could apply to all: Accountabilities: • Come to class ready to learn.

Southwestern Musician | August 2018 41

ELEMENTARY NOTES

B Y

C A S E Y

M E D L I N

A new year, a new you

I

hope your summer was a productive and relaxing one!

I was fortunate enough to participate in some wonderful professional development this summer. I completed my first level toward Kodály certification, attended the Modern Band Summit in association with Little Kids Rock, went to Artie Almeida and Denise Gagne’s Summit in Washington D.C., and am ending my summer of learning with the TCDA convention! I gained so much and I’m looking forward to implementing new ideas in my classroom this fall. I hope that this summer you also had the opportunity to add some more tools to your teacher toolbox. If that didn’t work out for you this summer, I encourage you to find one new source of information from which to learn this year. There are many amazing blogs and TeachersPayTeachers stores, some of which are free and offer a great way to connect with other amazing teachers.

Sometimes our greatest resource is each other!

Every summer I take some time to reflect on the previous year. What went well? What wasn’t so great? Were there concepts on which I should have spent

I encourage you to take some time to develop your personal goals this year. If this is new to you, start small. Establish one or two goals for next year.

42 Southwestern Musician | August 2018

August—Renew your membership and register for the convention.

August—Attend your Region meeting (see page 2).

October 1, 6 a.m. CT—Convention housing reservation system opens for members.

November 1—TMEA scholarship online application deadline.

February 13–16—TMEA Clinic/ Convention in San Antonio.

more time? It’s during this process that I usually come up with some goals for the coming year. I typically identify one for each grade level. For example, my fifthgrade goal from last year was to take their already fantastic recorder skills and enhance them so they could have an amazing end-of-year concert. Despite a crazy year that included missing 13 days of school (thanks to Hurricane Harvey and snow days), we made it! I’m not sure what would have happened if I hadn’t started the year with a detailed plan already in place.

I encourage you to take some time to develop your personal goals this year. If this is new to you, start small. Establish one or two goals for next year. Maybe your goal could be to ensure that your kindergarten and first-grade students start with a solid foundation or you might choose to catch up a grade level that has fallen behind. I’ve always found it easier to plan when I have a clear goal in mind.

Before school gets underway, I also take time to plan all our programs for the year.

I decide what type of performance each grade level will give. Meaning, my kinder kids will sing during their kinder gradua-

tion, first graders will give a mini-musical, second graders will head our Veterans Day observance Third graders will do folk dancing, fourth graders have the winter musical, and fifth graders wrap up the year with an instrumental concert.

I also take time early on to choose music and order everything we will need for each performance. You don’t want to be stuck waiting for materials to arrive as your performance dates sneak closer. Additionally, last year I wrote out all our save-the-date and informational letters that I would send to parents throughout the year. I was so thankful these were already done when I needed them!

In addition to performances on campus, now would be a good time to start planning performances around your area. Singing the national anthem before a sporting event is always fun. I’ve even known teachers who take their recorder and hand bell ensembles to perform.

Sometimes these performances can also serve as a fundraiser for your program! If you don’t have any local sports teams, consider performing at a holiday tree lighting event, any number of local festivals, the county fair, your school district’s admin-

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istration building, or even a local nursing home. It is my firm belief that every event is better when kids are there performing!

Lastly, think about technology use. It’s great when it works and a complete nightmare when it doesn’t. I’m sure that like me, you’ve been in the middle of a lesson when your Internet connection went down, your computer froze, or your projector just wouldn’t work. In the few minutes it takes to fix the problem, your classroom is in chaos.

Now would be a good time to come up with an emergency plan for just such an occasion. Early in the year I choose a singing game I know my students will love so that when technology fails (and you know it will), they have something musical to keep them engaged while I find a solution.

My little ones will play duck-duck-goosestyle Lucy Locket while the older kids will play the hand-clapping game Down by the River. That said, if you can’t figure out the issue and a solution seems more than just a few minutes away, you’d be safer adapting your lesson to work without technology.

May the tech be ever in your favor!

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Music students don’t just learn notes.

They learn to create.

They learn to innovate.

They learn to analyze.

They learn to collaborate.

Top Ten Skills Children Learn from the Arts Creativity • Confidence Problem-Solving • Perseverance Focus • Nonverbal Communication Receiving Constructive Feedback Collaboration • Dedication • Accountability “Top Ten Skills Children Learn from the Arts” by Valerie Strauss. The Washington Post, 1/22/13.

Share This Message!

A PDF of this page and several other music advocacy materials are available at www.tmea.org/advocacymaterials. Spread this word throughout your program, school, community, and the world!

44 Southwestern Musician | August 2018

Your TMEA Membership Expired Don’t wait for another reason to renew your membership other than the fact that the 2017–2018 memberships expired on June 30. Go to www.tmea.org/renew and be sure to renew your liability insurance policy while there (or if you don’t purchase it through TMEA, be sure you do somewhere else). Current policies through TMEA expire August 20.

Mentoring Network Many of you may be brand new to teaching or to Texas this year. It can be scary, and you want to do your best. I didn’t know anyone I could talk to who could help me.

Luckily, this doesn’t have to happen to you!

TMEA has a Mentoring Network, and you can enroll at www.tmea.org/mentor.

TMEA leaders will pair you with a veteran teacher to help with any number of situations. A great thing about the TMEA mentor program is that you’ll have someone you can talk to who isn’t the person you report to, so you might find it easier to speak candidly about your challenges. Go sign up now!

TMEA is also in need of veteran educators who can serve as mentors! You can also sign up at www.tmea.org/mentor.

Once you’ve completed the form, you’ll be added to the mentor database and after getting an assignment, you’ll receive an email from TMEA with some tips on how to be an effective mentor.

Region Meetings Please be sure to attend your Region meeting (see page 2 for details). If you don’t know your Region assignment, go to www.tmea.org/findmyregion to look up the Region to which your school district belongs. While you might not view these meetings as important, they can be great for networking and idea swapping. Your Elementary Region Chair has the opportunity to host a 1–3 hour workshop that day.

If there is a topic on which you’d like more information, ask your Elementary Region Chair to set up a workshop.

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COLLEGE NOTES

B Y

V I C K I

B A K E R

Destination education

S

ome years ago, when I was enrolled in a music teacher certification program, I had the fortune of studying with Dr. Sam Logsdon. I have carried his words of wisdom in my mind and heart throughout my teaching career. I recall that he advised me to write my teaching priorities on a note card before the school year began, place it in my top desk drawer, and read it every morning to remind me why I was there and what was truly important. When I began to teach, I quickly found there were days when I would struggle and question my decision to become a music educator.

On those days, I would reach in my desk drawer, pull out my note card, read it, and often realize that I was focusing on trivialities and had lost sight of why I was there. On that note card was, in fact, a condensed statement of my philosophy of music education. It could be easily accessed and quickly read and was a guide for my teaching, useful when adversity or fatigue threatened to divert me from my path.

Whether you are a college student beginning an educational journey, a recent college graduate launching your teaching career, or an experienced educator planning for a new school year, it is imperative that you have a clear destination and a route in mind.

David Elliott and Marissa Silverman, authors of Music Matters (2nd ed.), explained the importance of music educators having a philosophy as follows: “Whether teachers realize it or not, every teaching-learning decision and

Flexibility, creativity, and resilience are essential traits, because detours and roadblocks are inevitable.

46 Southwestern Musician | August 2018

August—Renew your membership and register for the convention.

August—Attend your Region meeting (see page 2).

September 1—Collegiate Music Educator Award nominations open for fall graduates.

October 1, 6 a.m. CT—Convention housing reservation system opens for members.

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

October 12—College Division Fall Conference in Austin.

November 1—Deadline for Collegiate Music Educator Award nominations.

November 1—TMEA scholarship online application deadline.

December 31—TMEA mail/fax convention preregistration deadline.

January 24—TMEA convention online early registration deadline.

February 13–16—TMEA Clinic/ Convention in San Antonio.

action we carry out before, during, and after we interact with ‘students’ (taken in the broadest sense) is guided (consciously and nonconsciously) by what we assume, believe, or think about why, what, how, where, and when we do what we do, and the people we are doing it with and for.”

Map Your Route Elliott, in Music Matters (1st ed.), maintained that it is critical to know where you are heading and how you are going to get there. A map provides a comprehensive view of the territory to be traveled and can help us find the best routes to follow.

It also reveals alternate routes and destinations that we may not have previously considered. However, be mindful that the map cannot warn the traveler of every pothole or contingency that may be needed.

Teachers must determine which roads will take students to the correct destinations.

Even more fundamental is the question “Why should you make the journey?”

When students enter college for the first time this fall, some of them will have no route marked on a map. They are attending college because that is what their parents expect and what their friends are doing.

They wander aimlessly, without clear direction, and readily change routes, heedless of where the road takes them. Ultimately, they fail to graduate because they were never committed to a destination.

At the other end of the spectrum are the students who go to their first advising session with a color-coded spreadsheet in hand, indicating which courses they will be taking each semester and their anticipated date of graduation. “Graduate on time” is their mantra, and I have seen many of them suffer physically, psychologically, and socially, due to the stress associated with carrying 17 to 18 credit hours per semester. Any change in the scheduling of courses can cause these planners great anxiety. After an initial planning session, these students do not believe it is necessary to re-evaluate their position and study the map further because they are not interested in making any changes to their journey.

ted your course. For example, a student may realize that she really enjoys music theory and, upon recommendation of her professor, decides to register for a semester of music composition. Or an instrumentalist may realize that singing in a choir will help him with his aural skills course.

A student might be committed to majoring in music performance, but as she learns more about music therapy, decides that is the career field for her. Anticipate that there will be some unexpected potholes and sinkholes along the way in the form of illness, finances, course conflicts, unexpected course requirements, or changes in course rotations. It is imperative that you, as a student, have a strong sense of why you are making the journey and remain focused on your ultimate destination.

Mark Your Route Music educators: if you are newlyemployed and beginning your teaching career, I recommend you follow the path prescribed by Elliott. First, contemplate the question “Why am I making this journey?” Once you have examined your core beliefs, record your reasons on a notecard, place it in your desk at school, and read it daily. Additionally, determine a destination for each of your classes, then investigate the various routes available, keeping your students’ ages, experiences, and abilities in mind. Record these destinations and consult them when you are planning for the corresponding class. Flexibility, creativity, and resilience are essential traits, because detours and roadblocks are

Attend the College Division Fall Conference October 12 • Austin, Texas tmea.org/fallconference ur best o y e r a h S on n e c t c d n a s e practic s from e u g a e l l o wit h c tate. s e h t s s o r ac

Modify Your Route Students: determine your destination and begin mapping your route, but remain open to routes you may not have known existed, or that were added after you plotSouthwestern Musician | August 2018 47

inevitable. It is helpful to consult the map periodically to determine whether you are headed in the correct direction and to identify any new, improved routes that might be available. And if you lose your way, have a blowout, experience mechanical difficulties, or run out of gas, do not hesitate to contact a fellow music educator and ask for assistance.

No matter who you are, discover why you are on your path, write it down, and keep it close. Determine where you want to go, study your assets and the maps, and plan a route. Change will happen to your situation, to you, and to those around you.

Be ready to change paths, find a whole new route, or possibly even shift your destination when changed circumstances are not congruent to your personal or situational resources.

TMEA Membership Renewal Effective June 30, all TMEA memberships for the previous school year expired.

Please remind your colleagues and students to renew their TMEA memberships.

Both faculty and student members are eligible for the low-cost liability insurance

provided through TMEA. College student members are eligible for scholarships and awards, for example, the TMEA Collegiate Music Educator Award, and they can attend the 2019 TMEA Clinic/Convention free of charge. Membership renewal at the beginning of the fall semester supports yearlong funding for students enrolled in Texas music programs.

College Division Fall Conference Please reserve Friday, October 12, on your calendar to attend our annual TMEA College Division Fall Conference.

The meeting will be held at the TMEA office in Austin from 10 a.m. to 3 p.m. and lunch will be provided. This is a wonderful opportunity to meet colleagues from other institutions across the state and to collaborate on solutions to the issues facing our profession. For more information, go to www.tmea.org/fallconference.

Call for Research Poster Proposals Proposals for the 2019 TMEA College Division Poster Session can be submitted online at www.tmea.org/papers beginning September 1. The deadline for pro-

posal submissions is October 15. For further information contact Amy Simmons, asimmons@austin.utexas.edu Texas Music Education Research I’m pleased to announce that we have two additional issues of Texas Music Education Research (TMER) now available online. From the annual TMEA College Division Research Poster Session, a group of research reports is further reviewed, edited, and compiled into each year’s issue.

This publication was distributed in printed form from 1978 to 1999. Since 2000, this series has been published solely online.

Register to Volunteer We depend on volunteers from our membership to assist with the variety of tasks associated with the annual TMEA convention (February 13–16). If you are available and willing to assist with registration, serve as a presider at clinic sessions, or work in the College Division office, please go to www.tmea.org/collegevolunteer and complete the online form. Take just a few minutes of your convention attendance to make this event a success for everyone!

TMEA Collegiate Music Educator Award Texas college faculty can recognize their elite music education graduates through this TMEA program. Award recipients should represent the finest and most dedicated future music educators across the state. Designation as a Collegiate Music Educator Award recipient should be an indication of potential quality for those looking to hire outstanding new teachers. Applications will be reviewed for completeness by the TMEA staff.

Qualifications Award recipients must meet all of the required criteria to receive recognition.

• Current TMEA member.

• Undergraduate music education major/concentration (pursuing certification in EC–12 music).

• 3.5 or better overall grade point average (GPA) at the close of the previous semester.

• Student has provided non-mandatory music instruction or has been significantly involved in the local music education community.

Nominations: Open September 1 One active TMEA member who is a member of the institution’s music education faculty may nominate that institution’s students at www.tmea.org/collegiateaward. By nominating a student, the faculty member confirms the student meets the above qualifications. A student may be nominated only once, during their graduation semester.

Application Deadlines • Fall graduation: November 1 • Spring/Summer graduation: March 15 Recognition Award recipients receive a congratulatory letter, printed certificate, regalia cords, and inclusion in a listing on the TMEA website. All recognition materials will be sent in a single mailing to the designated TMEA member at the institution who will distribute them to each student.

If you have any questions about this new program, email Vicki Baker, College Vice-President, at vbaker@twu.edu.

W W W.TM E A .O RG /CO LLEG I ATE AWA R D 48 Southwestern Musician | August 2018

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