February 2016 Southwestern Musician

FEBRUARY 2016

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FEBRUARY2016 8 4

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I S S U E

contents

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features

V O L U M E

Music Education Elevated in Federal Law . . . . . . . . 13 Learn how the passage of the Every Student Succeeds Act could affect the future of music education.

TMEA to Present Two Distinguished Service Awards. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 Attend the Second General Session of the 2016 Clinic/Convention to honor two of our state·s champions of Àne arts education.

Lessons from Almost Half a Century of Teaching . . 35 Regardless of how many years of teaching you have behind you, it’s always valuable to think about what is at the heart of good teaching.

BY BARBARA LAMBRECHT

columns

13

Performance Assessment in the Ensemble Classroom . . . . . . . . . . . . . . . . . . . . . . . . . . 49 Music teachers are continually assessing student performance as a natural extension of the rehearsal process. Consider how you can translate what you’re already doing into effective assessment strategies.

President’s Notes ............................................. 7

BY MICHAEL ALEXANDER

by Keith Dye

Transforming Symbols into Sound. . . . . . . . . . . . . . . . 59

Executive Director’s Notes.................20

Interpretation is not an act of creating anew. Teach your students how to understand explicit musical notation in a way that will allow them to present it in effective and meaningful ways to their listeners.

by Robert Floyd

Band Notes ............................................................28

BY BLAISE FERRANDINO AND NICHOLAS SCALES

by Andy Sealy

Orchestra Notes ............................................. 43

by Penny Meitz

Vocal Notes ...........................................................53 Elementary Notes ..........................................69

by Juli Salzman

College Notes ..................................................... 74

by Michele Henry

updates

by Robert Horton

Your CPE Record, Convention Parking & Shuttle Service ..................... 2 2016 TMEA Clinic/Convention: What to Know Before You Go ............. 4 Download the Mobile Convention Guide ..............................................22

On the cover: Past-President Janwin OverstreetGoode, President Keith Dye, and President-Elect Dinah Menger. Photo by Karen Cross.

Southwestern Musician | February 2016

1

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

Managing Editor: Karen Cross

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

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

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

Past-President: Janwin Overstreet-Goode Moverstreet-goode@Àsdk12.net 1406 Frontier Lane, Friendswood, 77546 281-482-3413 x 150/Fax: 281-996-2523 – Friendswood HS

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

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

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

Creating Your Convention CPE Record TMEA members have numerous opportunities to receive Continuing Professional Education (CPE) hours. TMEA provides an online method for creating your CPE record after the convention. Follow these steps now to prepare to complete your CPE record upon returning home from the convention.

1. Now: Create a personal schedule online.

• Go to www.tmea.org/convention • Go to the Schedules page • Click on the Personal Convention Schedule link • Enter your username (email address) & password • Create a schedule of sessions you wish to attend

2. At the convention: Make note of workshops you attend to completion.

3. When you return home: Update your online personal schedule to confirm the workshops you attended, print your CPE form, and submit it to your school district.

Active membership and convention registration/ attendance is required for CPE credit to be granted.

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

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

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

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

$5 Daily Parking with Free Shuttle Service: Alamodome Lot C Daily parking for $5 is available at the Alamodome Lot C, and TMEA provides free shuttle service from this lot to the convention center.

NOTE: With Alamodome construction, their walkway to the convention center is closed.

To walk to the center, cross under I-37 via Commerce Street. Or wait for a shuttle bus (3 buses, 1 is wheelchair accessible). Check the convention Travel page for more.

Thursday: 7:30 A.M.–10:30 P.M. Friday: 7:30 A.M.–10 P.M. Saturday: 7:30 A.M.–10 P.M. DETAILS AT: WWW.TMEA.ORG/CONVENTION

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

Subscription rates: One Year ² 20 Single copies 3.00. Periodical postage paid at Austin, TX, and additional mailing ofÀces. POSTMASTER: Send address changes to Southwestern Musician, P.O. Box 140465, Austin, TX 78714-0465. Southwestern Musician was founded in 1915 by A.L. Harper. Renamed in 1934 and published by Dr. Clyde Jay Garrett. Published 1941–47 by Dr. Stella Owsley. Incorporated in 1948 as National by Harlan-Bell Publishers, Inc. Published 1947–54 by Dr. H. Grady Harlan. Purchased in 1954 by D.O. Wiley. Texas Music Educator was founded in 1936 by Richard J. Dunn and given to the Texas Music Educators Association, whose ofÀcial publication it has been since 1938. In 1954, the two magazines were merged using the name Southwestern Musician combined with the Texas Music Educator under the editorship of D.O. Wiley, who continued to serve as editor until his retirement in 1963. At that time ownership of both magazines was assumed by TMEA. In August 2004 the TMEA Executive Board changed the name of the publication to Southwestern Musician.

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Southwestern Musician | February 2016

ttuboc.com 806. 742. 2225 boc@ttu.edu

ttuboc TEXAS TECH UNIVERSITY BAND & ORCHESTRA CAMP

July 10-16, 2016

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

WHAT TO KNOW BEFORE YOU GO REGISTRATION HOURS Badge Pickup—New Process!

TMEA Clinic/Convention Wednesday:

1:00 p.m.–9:00 p.m.

Thursday:

7:30 a.m.–5:00 p.m.

Friday:

7:30 a.m.–5:00 p.m.

• PREPAID REGISTRATION: If you have paid for registration, go to the Prepaid line. Look up your record and print your badge. You can still register online, even on the day you arrive before you get in line at the convention center.

• ON-SITE REGISTRATION: If you haven’t registered when st u J you get to the line, enter the On-site Registration line.

It’s w Complete registration and payment to obtain your badge.

Saturday: 7:30 a.m.– 2:00 p.m. a Fe ay!• TI:ME PRECONFERENCE: Go to the booth outside CC 209 w A s to complete registration for this Wednesday event. You’ll y TI:ME Technology Da get a separate badge and don’t need to register for the

Preconference

Wednesday, 8 a.m.–3 p.m., Room 209 (separate from TMEA registration)

REGISTRATION FEES • Active music educators: $80 • Retired music educators: $20 • College student member: $0 (included in $25 membership) • Out-of-state attendees: $130 • Technology Preconference: $50 (Wednesday only, separate payment from TMEA registration)

On-site Payment • Visa, MasterCard, AMEX, Discover, personal or school check (checks will be run same day), and official, signed purchase orders are accepted.

• TI:ME Preconference cannot be paid in combination with TMEA registration. Purchase orders not accepted.

TMEA convention first.

Family Members Registered attendee family member badge: $10 each Children under 12 are free (family cannot also be a music educator, music minister, musician, or college music student).

Badges purchased online are provided when you pick up your convention badge. You can also purchase family badges when you complete on-site registration, or later at the Visitors booth.

$5 Daily Parking/Shuttle Park for $5 each day at the Alamodome Lot C. TMEA provides free shuttle service Thursday–Saturday. This lot does not include security, so don’t leave your valuables. Note: With Alamodome construction, their walkway to the center is closed.

To walk to the center, cross under I-37 via Commerce Street.

Or wait for a shuttle bus (3 buses, 1 is wheelchair accessible).

Check the convention Travel page for more.

Schedule & Mobile Guide From www.tmea.org/convention, you can create a personal schedule, retrieve it for editing, and print it. This is also the first step in creating your CPE record. You can also download the Guidebook app for access to the 2016 schedule and more.

W W W . T M E A . O R G / C O N V E N T I O N 4

Southwestern Musician | February 2016

SUMMER

BAND concert band camp june 12 - 16, 2016

drum major camp june 19 - 23, 2016

marching leadership camp june 19 - 23, 2016

color guard camp june 19 - 23, 2016

STRINGS texas chamber music institute june 26 - july 1, 2016

summer strings camp july 10 - 15, 2016

texas conducting workshop july 5-9, 2016

JAZZ uta summer jazz combo workshop july 17 - 22, 2016

VOCAL All-State Choir Camp july 27 - 30, 2016

one last look september 10, 2016

music.uta.edu/camps

20 20 2016 01 16 Baylor Flute Seminar June 5-11

High School Band and Orchestra Camp Band Grades 9-12/Orchestra Grades 10-12 June 12-18

Middle School Band and Orchestra Camp Grades 7-9 June 19-25

Summer Piano Institute June 19-25

gre

Summer Organ Institute June 26- July 2

All-State Choral Music Camp July 5-9

B Y

K E I T H

PRESIDENT’S NOTES

D Y E

$ ÀQDO ORRN DW GHDOLQJ with change

T

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

March 1—Texas Music Scholar application available online.

April/May—Attend your spring Region meeting.

April 1–June 1—Submit proposals for the 2017 TMEA Clinic/Convention.

his is my final column as an Executive Board member of TMEA. As I thought about how to wrap up this three-year series of written thoughts that began during my two years as College Division Vice-President and concludes with this final year in the role of President, I tried to survey my experiences in these roles as a source of inspiration. I kept coming back to a central theme: change. Last summer, prior to the summer gatherings, I did submit a specific column on dealing with change, but I believe it would be worthwhile to revisit some of those themes and more as our major annual gathering approaches and we all begin the journey of dealing with some very major changes.

As I reflect on my four years on the Executive Board, I know I’ve been privileged to work with a phenomenal collection of professionals in dealing with significant issues that resulted in major evolution in our organization.

Others might identify different initiatives and issues, but the following five developments are the most meaningful in my mind. The first three of these developments of change have been relatively easy for the membership to deal with—in fact, more than likely joyful for most. The final two have been that other variety of change: change that jars the status quo (regardless of the age of that status) and have demanded individuals to reconsider broad aspects of how things are done from new perspectives. All of these were necessary

Things turn out best for the people who make the best of the way things turn out. —John Wooden Southwestern Musician | February 2016

7

and appropriate. Their implementation dictated that the Board and membership think well beyond our normal day-to-day way of carrying out our responsibilities and duties.

I’ll start with the three that are very easy to embrace and celebrate.

1. Dramatic increase in TMEA scholarship allotments: This has been, without doubt, one of the easiest and most gratifying changes to consider. In a 20-year period, we have gone from initially present-

ing a single award of $2,000 to this past year awarding 78 scholarships totaling $192,000. While this seems like an easy obligation to have made, there has been much discussion and thought put forth by each Board in increasing this beneficial program.

The Board will always have to weigh the obligation the organization commits in maintaining these standards of academic stewardship for years to come.

2. Grant programs: Awarded to elementary and middle school programs, this

represents a major transformation in how TMEA will strive to support our state’s programs. I am relatively sure in stating that these sorts of endeavors will be a part of future Executive Board discussions and that every past and current Board member is extremely proud of bringing this new venue of support to our membership.

3. Information processing: Under the leadership of Frank Coachman and Andrew Denman, and with contributions by the TMEA staff, so much information processing has been upgraded. Be it entries, auditions, clinic submissions, membership, archived SOUTHWESTERN MUSICIAN, presidential elections, convention registration, scholarship recommendations, convention scheduling, you name it; it has been assimilated into an ever-improving online digital process. Without a doubt this is probably the area of change that is perhaps easiest to take for granted.

Now, to the two changes that remain

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Southwestern Musician | February 2016

RESIDENTIAL PROGRAMS

INSTITUTES FOR YOUTH AND ADULTS

Music Horizons • Intensive three-week program for classical musicians currently in grades 9–12 • Emphasis on solo performance in a collegiate environment

• • • • •

Summer Jazz Studies • Rigorous two-week program for jazz musicians currently in grades 9–12 • Designed to enhance improvisational and ensemble skills

PROGRAMS FOR MUSIC TEACHERS

Eastman at Keuka • Two weeks of music and recreation on the shores of New York’s scenic Keuka Lake • For students currently in grades 6–9

• • • • • • • •

NEW Bonita Boyd International Flute Masterclass Saxophone Institute Trombone Institute Trumpet Institute Viola Workshop

Summers-Only Master’s Degree in Music Education Orff Schulwerk— Levels I and III Dalcroze Eurhythmics Conducting (Choral and Orchestral) American Saxophone Academy NEW Bonita Boyd International Flute Masterclass NEW NewBassoon Workshop NEW Singing Gregorian Chant and Renaissance Polyphony

summer.esm.rochester.edu summer@esm.rochester.edu (585) 274-1074 or toll-free: 1-844-820-3766

to fully affect us and that some might find unsettling.

4. The 2016 TMEA Clinic/Convention: The environment will be a drastic alteration for anyone in attendance who has experienced our conventions before. On the positive side, we can anticipate fresh spaces, new views, additional rooms, and much more. With that, we should also be aware that it is inevitable that we will at times be confused or lost. Many of us probably can vaguely recall some 20 years ago when the San Antonio Convention Center last experienced a major addition and upgrade. The changes we will all experience in February 2016 are going to be much greater than those. Enhance your convention by anticipating just how different so much will be. Embrace that which you are unaccustomed to by preparing yourself and your

convention plans accordingly. You can look at floor plans in advance at www.tmea.org/2016conventionfloor to see where the rooms you want to visit are in this expanded center.

5. TMEA realignment: This change will begin to take true shape this February as newly formed Regions have their initial meetings and existing Regions adjust to a reworked membership cohort. Many recall past realignments and all that went with them. The changes for 2016 have been discussed for well over a year, and despite our best intentions, there will ultimately be growing pains. The TMEA Executive Board is committed to ongoing analysis and modification.

What we need from the membership is a concerted effort to embrace the new with an attitude of positive, optimal flexibility for the sake of students and music programs across Texas.

For All Things Convention W W W.TME A .ORG/CONVENTION

Also know that we continue to welcome your feedback, especially since alignment will be reviewed again in two years.

I wrap up this column by once again sharing the words of someone whom I consider perhaps the greatest motivator of the past 100 years, UCLA basketball coach John Wooden, who eloquently stated, “Things turn out best for the people who make the best of the way things turn out.”

As we face the multitude of changes we will all confront this February I know we all have the potential to live up to this idea; I encourage you always to make the best of what we’re given.

Finally, I would be remiss if I did not take the time to offer the sincerest thanks to all those who have made my experiences in this role so gratifying. This could easily be a very long list, and with that, I would still fail to name everyone deserving of mention, so please accept my thanks for everything you have done to make this association great and for what you have done to support me in my role on the Executive Board. Saying thank you is not nearly enough!

Learn. Grow. Inspire.

Announcing our new SUMMERS-ONLY Master of Music Education 3-Summer Program • UNT faculty and renowned guest instructors • Hands-on experience in our summer camps and master classes • Band, Choir, Orchestra, and Elementary-General tracks • Pedagogy, Rehearsal Techniques, Conducting, Literature, Jazz, Urban Education, Teaching Students with Disabilities, Cultural Competence

Dates for Summer 2016: June 6 – July 15 Convenient Dates Selected for Working Music Teachers.

Housing available. Space is limited.

Apply early for priority consideration.

Contact Dr. Sean Powell (sean.powell@unt.edu), Coordinator of MMEd musiced.music.unt.edu/programs/masters

Go beyond professional development.

10 Southwestern Musician | February 2016

We Are...

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Department of Music 2015 –2016 Auditions December 5

February 20

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http://music.utsa.edu

Music Education Elevated in Federal Law

O

n December 10, President Barack Obama signed the Every Student Succeeds Act (ESSA), which passed in the Senate the day before by a final vote count of 85 to 12. ESSA replaces the previous No Child Left Behind Act (NCLB). Important for music educators to know is that ESSA includes a critical standalone listing for music in the legislation’s all-important definition of a “Well-Rounded Education” (previously known as “Core Academic Subjects”).

While Texas as a state historically has not embraced federal education policy overall, TMEA will continue to provide you information and updates about our opportunity to influence the state and local implementation of this act. NAfME executive director Michael Butera said it best by stating the Every Student Succeeds Act is a beginning and an opportunity, but the depth of its impact for the arts will be determined by the development of policies at the federal, state, and local levels.

As with any law—especially those at the federal level—the direct effects of and opportunities created by this act will take some time to realize. However, the following are some key points to understand moving forward. (The following analysis summary is reprinted with permission by the National Association for Music Education.)

Title I: Improving Basic Programs Operated

by State and Local Educational Agencies Section 1008: Schoolwide Programs (Schoolwide Program Plan): Plans which may be executed via a combination of federal, state and local funds, in efforts to improve the overall educational program of a school meeting the appropriate threshold of disadvantaged students to become eligible. Strategies should seek to

strengthen academic programs, increase the amount and quality of learning time, and provide a well-rounded education (music, arts).

Section 1009: Targeted Assistance Schools (Targeted Assistance School Program): Aimed at assisting schools and Local Educational Agencies with support in ensuring that all students served meet the state’s challenging student academic achievement standards in subjects as determined by the state. Criteria includes the potential to provide programs, activities and courses necessary to ensure a well-rounded education (music, arts).

Section 1009: Targeted Assistance Schools (Targeted Assistance School Program): Recommends that in order to effectively serve participating students, removal of students from the regular classroom during regular school hours (music, arts) for instruction provided under this part, must be minimized. Under NCLB, this language proved helpful in protecting music programs in multiple states. (Note: in this case, Texas is more far-reaching than federal law in that Texas Education Code requires local districts to establish policies limiting pull-out.)

Section 1112: Local Educational Agency Plans (Plan Provisions): Application for federal support to state educational agencies, who then work with local educational agencies to implement plans designed to close the achievement gap and help students meet challenging state academic standards, via several avenues, including the development and implementation of a well-rounded (music, arts) program of instruction.

Section 1112: Local Educational Agency Plans (Parental Participation/In General): For English learners, local educational agencies receiving grants are required to conduct outreach to parents encouraging the sharing of information regarding how they Southwestern Musician | February 2016 13

can be involved in ensuring that their children achieve at high levels within a well-rounded education (music, arts).

Title II: Preparing, Training, Recruiting High-Quality Teachers, Principals, or Other School Leaders Section 2224: Subgrants to Eligible Entities in Support of Kindergarten Through Grade 12 Literacy (Local Applications): Eligible entities receiving subgrants must report on how a school integrates comprehensive literacy instruction into a well-rounded education (music, arts).

Section 2224: Subgrants to Eligible Entities in Support of Kindergarten Through Grade 12 Literacy (Local Uses of Funds for Grades 6 Through 12): Eligible entities receiving subgrants must assess the quality of adolescent comprehensive literacy instruction as part of a well-rounded (music, arts) education, and provide time for teachers to meet to plan evidence-based adolescent comprehensive literacy instruction to be delivered as part of a well-rounded education (music, arts).

Title IV: 21st-Century Schools Section 4101: Student Support and Academic Enrichment Grants (Purpose): Federal grants to state and local educational agencies aimed at improving students’ academic achievement, through a variety of measures, including by providing access to a well-rounded education (music, arts).

Section 4104: State Use of Funds (State Activities): States receiving formula grants must use those monies in part for purposes of carrying out particular State Activities, which may include offering well-rounded (music, arts) educational experi-

ences to underrepresented, disadvantage, and minority students.

Section 4104: State Use of Funds (State Activities): Providing for activities and programs in music and arts, specifically, are mentioned as appropriate uses of formula grant funds.

Section 4106: Local Educational Agency Applications (In General): As part of the Needs Assessment for a local educational agency to receive an allocation of formula grant funding from a state educational agency, improvement in access to, and opportunities for ensuring all students receive a well-rounded education (music, arts), is included.

Section 4106: Local Educational Agency Applications (Descriptions): Application for support via state educational agency distributed formula grant allocation includes a required description of activities and programming that a local education agency plans to carry out, including, if applicable, for purposes of supporting well-rounded education (music, arts).

Section 4107: Activities to Support Well-Rounded Educational Opportunities (In General): Allocations to local educational agencies must be used, in part, for purposes of developing and implementing programs and activities that support access to a well-rounded education (music, arts). There is significant potential here to make deep inroads on behalf of securing additional funds for music and arts. This is very strong language.

Section 4107: Activities to Support Well-Rounded Educational Opportunities (In General): Programs and activities that use music and arts are referenced specifically, as tools to support student success, through the promotion of constructive student engagement, problem solving, and conflict resolution.

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with a full year of student teaching and 100% job placement (20 consecutive years) I Located in CULTURALLY VIBRANT San Antonio I STUDY ABROAD opportunities I 16 ensembles

trinity.edu/music June 2014, the Trinity University Music Department was recognized as an ALL-STEINWAY SCHOOL by Steinway and Sons, for its commitment to excellence and purchase of 32 Steinway pianos.

14 Southwestern Musician | February 2016

THIS IS THE HOUSE INNOVATION BUILT. Welcome to the Powerhouse.

MOOR E S S CHOOL OF M U S IC AU DI T ION DAT E S 2016 February 6 & 20 2016 March 4, 5, & 6

uh.edu/music

Section 4107: Activities to Support Well-Rounded Educational Opportunities (In General) via Bonamici Amendment: Programs and activities that integrate the arts (including music) into STEM for purposes of increasing participation in STEM, improving attainment of STEM-related skills, and promoting a well-rounded education (music, arts). Also, programs and activities that support educational programs that integrate multiple disciplines, such as programs that combine arts and math.

Section 4201: Purpose; Definitions (Purpose): Part is designed to provide opportunities for communities to establish or expand activities in 21st Century Community Learning Centers, including via offering students a broad array of additional services, programs, and activities, such as music and arts.

Section 4205: Local Activities (Authorized Activities): The Local Competitive Subgrant Program aimed at 21st Century Community Learning Centers and Expanded Learning Program Activities includes a description of Authorized Activities aimed at advancing student academic achievement and supporting student success. The description includes well-rounded education (music, arts) activities, including such activities that enable students to be eligible for credit recovery or attainment.

Section 4401: Magnet Schools Assistance (Special Rule): If all conditions are met, grant funds under this part may be used to improve knowledge of art or music.

Section 4641: Awards for Academic Enrichment (Program Authorized): From reserved funds, the U.S. Secretary of Education shall award grants, contracts, or cooperative agreements, on a competitive basis, to eligible entities for the purposes of enriching the academic experience of students by promoting arts education for disadvantaged students and students with disabilities.

Section 4642: Assistance for Arts Education (Awards to Provide Assistance for Arts Education/In General/Conditions/ Consultation/Eligible National Nonprofit Organization): Reincarnation of Arts in Education program from NCLB (Title V, Subpart 15), aimed at promoting arts education (including music education) for students, including disadvantaged students and students with disabilities, through professional development for arts educators, teachers, and principals; development and dissemination of instructional materials and arts-based educational programming, including online resources, in multiple arts disciplines; and community and national activities that strengthen and expand partnerships among schools, local educational agencies, communities, or national centers for the arts. A variety of entities are eligible for funding under this program, with priority given to funding a national arts education organization meeting eligibility requirements. In carrying out activities, the U.S. Secretary of Education must consult with arts educators (including professional arts education associations, such as the National Association for Music Education

[NAfME]). A previous version of this program was responsible for funding The Kennedy Center and its Very Special Arts (VSA) program, as well as a small number of competitive professional development and model program implementation grants under NCLB. Title VIII: General Provisions Section 8002: Definitions (Expanded Learning Time): Includes activities and instruction for enrichment as part of a well-rounded education (music, arts).

Section 8002: Definitions (Professional Development): Teachers, principals, other school leaders, specialized instructional support personnel, paraprofessionals, and, as applicable, early childhood educators, with the knowledge and skills necessary to enable students to succeed in a well-rounded education (music, arts), are, importantly, all included here.

Section 8002: Definitions (Well-Rounded Education): Music and arts are listed as part of a well-rounded education (formerly known as Core Academic Subjects). This listing importantly connects music and arts to various other cited provisions throughout the ESSA. Of significance, music is listed in this section as a standalone subject for the first time ever, providing clarity as to meaning, and serving as an advocacy tool that can help to inform state and local level funding decision-making.

Note: All other references to well-rounded education throughout S. 1177 are either not relevant to music and arts, or refer to amendments to United States Code and have no impact on this legislation.

Southwestern Musician | February 2016 17

UNT College of Music Summer Workshops 2016 ClarEssentials Middle School Clarinet Workshops June 6-8, Denton ISD June 13-15, Frisco ISD Daryl Coad, Deborah Fabian, Kimberly Cole Luevano, John Scott, Kristen Thompson, Connor O’Meara Flute! Fundamentals for Teachers June 6-10 Mary Karen Clardy

Summer String Institute for Violin, Viola, Cello, Double Bass, and Harp June 17-July 1 Julia Bushkova, Philip Lewis, Felix Olschofka, Anyango Yarbo-Davenport, Alex Kerr*, Gary Levinson*, Susan Dubois, Daphne Gerling, Liesl-Ann de Villiers, Ann Marie Hudson Brink*, Eugene Osadchy, Nikola Ruzevic, Elizabeth Morrow, Jesús Castro-Balbi, Gudrun Raschen, Jaymee Haefner, Baumer String Quartet, Clay Couturiaux *Masterclass only

29th Annual Bradetich Double Bass Masterclasses June 6-10 Jeff Bradetich, Jack Unzicker

14th Annual Pirastro Strings Elite Soloists Program June 19-24 Jeff Bradetich

16th Annual Lynn Seaton Jazz Double Bass Workshop June 6-10 Lynn Seaton

Vocal Jazz Summer Workshop June 19-24 Jennifer Barnes, Rosana Eckert, Greg Jasperse, Justin Binek

16th Annual North Texas Beginner and Intermediate Bass Camp June 8-10 Gudrun Raschen, Jessica Valls, Carlos Gaviria

ClarEssentials High School Clarinet Workshop June 22-25 Daryl Coad, Deborah Fabian, Kimberly Cole Luevano, John Scott, Meaghan Kawaller

Orchestra Summer Day Camp June 13-17 Elizabeth Chappell (Grades 2-10) Flute! Practicum for Performers June 13-17 Mary Karen Clardy UNT Marching Percussion Camp June 13-16 Paul Rennick Keyboard Percussion Symposium (Formally the UNT Marimba Workshop) June 13-17 Christopher Deane, Brian Zator, She-e Wu, Sandi Rennick, Ed Smith, Gordon Stout Vocal Pedagogy Workshop June 17-18 Stephen F. Austin Vocal Jazz Educator Seminar June 17-18 Jennifer Barnes, Curtis Gaesser Flute! Masterclass in Repertoire and Performance June 17-19 Mary Karen Clardy

Drum Major and Leadership Camp June 23-26 Nicholas Enrico Williams, Jeremy Spicer, Manuel Maldonado Flute! High School Camp June 24-26 Mary Karen Clardy Texas High School All-State Choir Camp July 6-9 Alan McClung (Grades 9-12) Jazz Combo Workshop July 11-15 Mike Steinel Middle School/Junior High Honor Choir Camp July 13-16 Alan McClung (Grades 7-9) Mariachi Summer Camp July 19-23 Donna Emmanuel Keyboard Wellness Seminar July 22-30 Sheila Paige Summer Harp Masterclass August 6 Jaymee Haefner, Sajid Surve

For information contact Anne Oncken: 940–565–4092, Anne.Oncken@unt.edu

www.music.unt.edu

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EXECUTIVE DIRECTOR’S NOTES

B Y

R O B E R T

F L O Y D

Music industry partnership remains strong

I

make an effort every year to include in this column a thanks to the members of the music industry for their loyal support of our programs, our members, and your students. Their commitment to exhibit at our convention and advertise in SOUTHWESTERN MUSICIAN provides our organization a significant financial revenue stream. These revenues enable the Executive Board to keep membership and convention registration fees nominal and to provide grant programs such as we were able to offer for two consecutive years.

Such relationships truly flourish when both companies and education programs, including teachers and students, mutually benefit. The partnership of TMEA and the music industry has always been a positive one, and our exhibiting companies have always trusted TMEA to treat them with professionalism and fairness.

That relationship has become even more important for the upcoming convention in that the development of an exhibit plan to include all booths in one contiguous space reflects much change. In addition, prioritizing booth location choices has been a challenge for companies given they have no knowledge or history of traffic flow in the new hall. Also, the inclusion of an instrument marketplace section in which booths that generate sound will be placed

While our industry creates wonderful tools, it is the music educator who then unlocks the musical potential in each of us and helps create lifelong engagement in the arts. —Joe Lamond, NAMM President & CEO 20 Southwestern Musician | February 2016

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

March 1—Texas Music Scholar application available online.

April/May—Attend your spring Region meeting.

April 1–June 1—Submit proposals for the 2017 TMEA Clinic/Convention.

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What products have your woodwind students found successful?

Rylon Guidry, Director of Bands at Arbor Creek Middle School

The Arbor Creek Middle School Band program includes 6th, 7th, and 8th grade students from parts of Carrollton, Plano and Frisco, and is a proud feeder school to the nationally recognized Hebron High School Band. Under the direction of Rylon Guidry, The Arbor Creek Honors Band has been selected by the Foundation for Music Education as a National Winner in the Mark of Excellence National Wind Band Honors Project in 2014 and 2015.

How many students are in your band program?

We have 170 students in our two performing bands for 7th & 8th graders and annually start about 140-150 beginner 6th grade band students in general music classes. We are proud of our students and their successes at

recent TMEA CC State Honor Band Contests and their unanimous first division ratings at local festivals including UIL Concert & Sight-Reading.

What’s your position on student equipment?

When students play on quality equipment they are able to excel far greater and faster than if they were battling with poorly designed equipment. I think the reasons are pretty obvious. As instrumentalists, our students are really bound by the quality of their instruments. Even though it’s usual to have a hand-me-down instrument every once in a while, we insist on quality mouthpieces and ligatures that are the same from student to student. As beginners, our students are only able to focus on a few (if not only

We believe strongly in the quality of Vandoren mouthpieces for our clarinet and saxophone sections. For clarinetists in Texas, the Vandoren mouthpieces are a staple. At Arbor Creek, we use the M13 Lyre to develop a more open and mature sound from the beginning, but have used the 5RV Lyre in the past – both superior mouthpieces.

As a saxophone player I began on another very famous “staple”, but we have recently switched over our students to the Vandoren AL3 (we also purchase the equivalent sizes for our tenor and baritone saxophonists) and this has changed the sound of our saxophone students positively. I’ve even switched over myself.

Another thing that I would go to war over are the Vandoren reeds. There are many competitors out there, but it’s simple: a good Vandoren beats anything else! The vibrating material is perhaps the most important thing in teaching good tone, and that starts and ends with the quality of the reed.

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together has also created the opportunity for angst and concern.

To the credit of our sustaining members, however, the professionalism exhibited and acceptance of booth assignments has been most positive. We will all learn much from this first-time experience, and hopefully unforeseen challenges will only be minor. The takeaway for our exhibitors will certainly be a significant one if you as an attendee budget appropriate time to spend in the hall, determine in advance the booths you want to visit, and thank any company with whom you have dialogue for their presence and support.

The National Association of Music Merchants (NAMM) has become a partner of TMEA over the years. NAMM is the not-for-profit association that promotes the pleasures and benefits of making music and strengthens the $17 billion global music products industry through their thousands of member companies around the world. This international organization has partnered with TMEA on numerous advocacy presentations through the years. They also contributed significantly to the underwriting of the fees for past TMEA keynote presenters Dan Pink and Sir Ken Robinson.

Joe Lamond, their president and CEO,

has attended the TMEA convention and continually praises music education in Texas. At the recent Midwest Clinic in Chicago he shared with me notes entitled “In Praise of Music Teachers” he had written for a recent NAMM publication, speaking to the importance of the partnership between educators and the industry: I would like to recognize the music teachers around the world who are our partners in NAMM’s vision of a world where every child has a deep desire to make music and a recognized right to be taught.

While our industry creates wonderful tools, it is the music educator who then unlocks the musical potential in each of us and helps create lifelong engagement in the arts.

He further shared, Research shows that every day in classrooms, in music studios and increasingly online, music teachers are influencing the next generation of players, as well as returning lapsed hobbyists of all ages. Our industry’s connection with music educators goes back to NAMM’s earliest days. Most other industries don’t rely on this symbiotic relationship, but the music products industry is absolutely connected to the educators who help people to unlock the potential of the beautiful instruments produced

by NAMM members. While some are

Download the Mobile Convention Guide Create a schedule with reminders, Ànd exhibitors, review maps, and more.

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Windows phone and other users: Visit www.tmea.org/convention for a link to a mobile-friendly Web version of the guide.

22 Southwestern Musician | February 2016

self-taught, most of us got our musical start with a teacher.

He continued, Our industry’s success is dependent on the success of high-quality music teachers in their mission to help more people get involved in music-making. We’ve also been the lead voice in lobbying for more support for music and arts education with governments and policymakers and, while our work may never be done, we can point to some very solid gains that have impacted millions of students in the United States and around the world.

So while TMEA historically has praised our sustaining members for their partnership with us, it is reassuring that the industry recognizes the importance of that relationship and extends reciprocal thanks.

In closing, it is important to offer due recognition to NAMM, under the leadership of Director of Public Affairs and Government Relations Mary Luehrsen, for their successful contributions to the recent passage by Congress of the Every Student Succeeds Act that includes music as a standalone component of a wellrounded education. NAMM has maintained a consistent presence on Capitol Hill, and their efforts at the national level are greatly appreciated and valued.

The Total Experience We all tend to view the convention program with divisional blinders, only perusing the offerings for our particular teaching area. I encourage you to review the entire convention program for workshops that may have a particular appeal to you, especially in the College Division, where clinics are scheduled that cut across all divisions. In addition to the TI:ME Preconference, I also encourage you to attend the general sessions to hear our keynote speakers, observe our All-State conductors during their open rehearsals, and, if you have never participated in your college reunion, put that on your list as well. Finally, while there is a temptation to return home on Saturday morning, I implore you to attend as many of the AllState concerts as possible. There should be ample seating for all performances, and I promise that you will be inspired and motivated by the amazing talents of our best and brightest students. See you in a few days in San Antonio.

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TMEA to Present Two Distinguished Service Awards Presented During the Second General Session: Friday, February 12, 8:30 a.m. • Lila Cockrell Theater

T

MEA will present former Texas State Board of Education Chair Barbara Cargill and current Vice-Chair Thomas Ratliff with Distinguished Service Awards at its Second General Session on Friday of the upcoming convention.

TMEA presents this award to individuals who have made significant contributions to music and arts education in Texas through the years.

Executive Director Robert Floyd stated that no Board members have demonstrated a stronger commitment to a well-balanced education that includes the arts than these award recipients.

Through their years of service, they have been outspoken against rule changes and issues that might have had a negative impact on providing students access to the arts. In addition, throughout the rule writing process for HB 5 (the new graduation programs), they strived to ensure that serious arts students would have maximum flexibility in course selection to pursue the arts and humanities endorsement and that all students could continue arts study throughout high school no matter the endorsement choice.

Barbara Cargill Barbara Cargill earned her undergraduate degree in education from Baylor University and a master of science in science education degree from Texas Woman’s University.

Having taught high school science for almost ten years, she was the recipient of many teaching awards, including a National Excellence Award for science teaching. Cargill’s interest in creative learning for children, combined with a love for science, motivated her to found the WOW! Science program in 1994. This is a hands-on science program for children ages 3–10, and each summer over 1,200 children attend. Cargill also leads school outreach programs and teacher trainings.

On January 1, 2005, Cargill was sworn in as a member of the Texas State Board of Education for a four-year term. She is now in her third term. Governor Rick Perry appointed her to serve as Chair of the Board for the maximum two consecutive terms (4 years). Cargill is especially proud to have established the board’s annual Student Hero program, which recognizes 15 students

across Texas who demonstrate character and integrity by showing kindness to other students (one of the inaugural recipients was an orchestra student from Klein ISD). Cargill considers it a great privilege to serve children, parents, and teachers at the state level. She has always been an ardent supporter of fine arts in our schools, especially after seeing the lifelong benefits and joy it has provided for her son Chase, who majored in theater performance at Chapman University in Orange, California.

Thomas Ratliff Thomas Ratliff was elected to the State Board of Education in November 2010 and reelected in 2012. He has twice been elected by a bipartisan coalition of his colleagues to serve as the Board’s ViceChair and also serves on the Board’s Committee on School Finance/ Permanent School Fund.

Thomas and his wife are the proud parents of a daughter who is a sophomore at Texas Tech Honors College and a son who is a junior at Chapel Hill HS in Mount Pleasant. Their daughter was a back-to-back state champion in UIL Lincoln–Douglas Debate and plans to pursue a career in public policy. Their son was a proud participant in the TMEA All-State Men’s Choir in his freshman year and last year was awarded Outstanding Soloist in the UIL Solo & Ensemble Choir contest. He plans to pursue a college degree and career in musical theatre. Ratliff and his wife have been active volunteers at their children’s public schools.

In 1989, Ratliff earned a bachelor of business administration degree from Texas Tech University and in 1994 he earned a master’s degree in public affairs from UT/Austin.

TMEA is honored to add Barbara Cargill and Thomas Ratliff to the list of outstanding contributors to Texas music education who have been presented this award. Be sure to attend the Second General Session at 8:30 A.M. in Lila Cockrell Theater to show your appreciation for these two champions of fine arts education.

Southwestern Musician | February 2016 25

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, February 21, 2016 Saturday, March 5, 2016 Sunday, April 3, 2016

1:00 to 3:00 p.m.

1:00 to 3:00 p.m.

1:00 to 3:00 p.m.

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

Beth Bronk Director of Bands bbronk@tlu.edu

Shaaron Conoly Director of Vocal Studies sconoly@tlu.edu

Eric Daub Director of Piano Studies edaub@tlu.edu

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

Director of Strings ejeffords@tlu.edu

www.tlu.edu/music

BAND NOTES

B Y

A N D Y

S E A L Y

Honor band entry and convention updates

T

he TMEA Honor Band process is one of the primary reasons we enjoy such a high level of performance and pedagogy in our Texas bands.

Engagement in this more than fifty-year process has produced some unbelievable concerts and raised the musical standards for bands from all classifications. The stated purpose of the Honor Band process from its inception was to provide directors with the opportunity to observe master teachers and hear the results of high-quality instruction and to subsequently develop their own skills to a higher level.

Additionally, the process recognized communities and districts in all classifications that encouraged and actively supported instrumental music programs.

I believe that the process still serves our Band Division well by continuing to fulfill its original purposes. That being said, we must acknowledge two essential facts. First, we must periodically reexamine not only the procedural components of the process but also the means to make the process and listening sessions more efficient and cost effective. We must also continue to identify ways to acknowledge and reward individual program advancements through the Region and Area levels. The Honor Band process can at times even be a polarizing topic for directors of programs who don’t believe they have equal access to recording opportunities or for whom travel or entry fees are prohibitive. It’s incumbent upon our division to look for ways to make the Honor Band process more relevant and accessible for all our programs.

We must also explore ways to utilize more advanced playback and delivery systems.

Second, and even more importantly each year, we must insist that our programs, staffs, and colleagues participate in the process only with the highest of ethical standards and within the best interests of our students and communities. TMEA Honor Band Competition Rules, Procedures, and Guidelines

It’s incumbent upon our division to look for ways to make the Honor Band process more relevant and accessible for all our programs.

28 Southwestern Musician | February 2016

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

February 11, 5:15 p.m.—Band Division business meeting at the convention.

March 1—Honor Band entry deadline for classes 1C, 1A/2A, 4A, 6A. March 1—Texas Music Scholar application available online.

April/May—Attend your spring Region meeting.

April 1–June 1—Submit proposals for the 2017 TMEA Clinic/Convention.

state, “In order for the selection system to accomplish its purpose, all involved must honestly adhere to established procedures and share responsibility for maintaining high ethical standards. Preparation and participation must be consistent with worthwhile educational goals without exploitation of the system or students.”

There is a thorough, while certainly not all-encompassing, list of practices that are considered unacceptable and unethical in the TMEA Honor Band Competition Rules, Procedures, and Guidelines document. Practices along the margins of this list are extremely divisive and difficult to police adequately. It is critical that we hold ourselves accountable not only to the letter and spirit of the competition rules but also to one another for compliance.

Please review this document thoroughly before beginning the TMEA Honor Band process with your ensemble. Discuss the rehearsal and performance expectations carefully with your staff, administration, and students. To review these rules, go to www.tmea.org/honorbandrules.

On February 1, the link to the online entry page for the TMEA Honor Band submission is active for classes 1C, 1A/2A,

4A, and 6A. March 1 is the deadline for online entry into the TMEA Honor Band process. Please make sure that you adhere to this firm deadline. We are all busy professionals, but this gateway step cannot be overlooked. Please follow the directions carefully and complete all necessary information in detail. Be sure to click Submit!

Also, very carefully plan the venues in which you are performing. All performance site and date information must be accurate. High school or district performing arts centers and festival/contests sites can be booked up quite quickly. And, especially in many district PACs, middle school band or high school concerts may get bumped from the performance calendar by other high-priority district events, other fine arts events, or even rentals that generate revenue for the local district. The TMEA Honor Band Competition Rules, Procedures, and Guidelines allow for one recording date substitution “provided that the Region Chair is notified prior to the originally scheduled date and time with the newly scheduled date and time.”

There are careful guidelines contained within the TMEA Honor Band document that detail possible justifications

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for rescheduling events. Should a concert performance substitution become necessary, I strongly recommend that any such changes be formally made in writing to the Region Chair and copied to the school principal.

Updated information regarding Area Listening Centers, dates, sites, judges, and chairs will be posted later at www.tmea.org.

TMEA Clinic/Convention Updates The annual Band Division business meeting is Thursday, February 11, at 5:15 P.M., in the Stars at Night Ballroom 4 (the new ballroom on the third floor, two floors above the convention center’s new main lobby). This meeting is vital to the continued success of the Band Division.

We are very fortunate to have two outstanding and experienced music educators seeking your vote for the office of Band Division Vice-President. This is a tremendous opportunity to serve the membership and guide our division.

These candidates need and deserve your serious consideration and support. Make plans now to attend, and do not miss your opportunity to cast your ballot in this

critical election.

In addition to the election, we will have a brief keynote from our TMEA Band Division Featured Clinician, Richard Floyd, who is enjoying his 53rd year and counting of active involvement as a conductor, music educator, and administrator. He currently holds the title of Texas State Director of Music Emeritus.

Also at the Band Division Business meeting, current State Director of Music, Brad Kent, will also provide some timesensitive UIL updates and release PML substitution request approvals.

Remember that you can create a per-

sonalized convention schedule online.

Once completed, this schedule helps members create their CPE documentation and allows quick and easy searches for concerts and clinics. The personalized convention schedule will also allow access to clinic handouts provided to TMEA by the clinicians and, following the convention, access to audio files if you purchased that service. In addition, TMEA offers the convention mobile guide. Get the Guidebook app from your app store and then download the TMEA 2016 guide.

See you in San Antonio in just a few days!

4DAYS 315CLINICS 96CONCERTS 550EXHIBITORS TME A .ORG/C ONVENTION

Southwestern Musician | February 2016 33

LIVE YOUR MUSIC S C H O L A R S H I P A U D I T I O N DAT E S

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B ACHELOR OF ARTS

Lessons from Almost Half a Century of Teaching

by Barbara Lambrecht

’ve spent over seven decades on Earth, with participation cepts (you might even call this persistence), energy to explain in music in each of them. Like anyone who has lived this your methods again and again to leaders and parents who may long, I’ve learned a lot of lessons along the way. And now, not know anything about music, energy to reassess your own after 49 years of teaching elementary music, junior high effectiveness. and middle school band, high school band and orchestra, uni• If you want to teach, you must truly enjoy interacting with versity band and music education classes, and mentoring young children and young adults. However, you also have to be in directors and young musicians, I have come to a few conclusions. charge, which includes not becoming friends with your students.

Good teaching is good teaching. Whether a teacher is disThis doesn’t mean they won’t eventually love you and do everycussing Macbeth, the Doppler effect, quadratic functions, or the thing in their power to please you, but that cannot—must not— concert B-flat scale, there are be the primary goal. approaches to communicating • You must genuinely believe with students that are timeless. that every child can learn. It is With this in mind, I have distilled Along with the rules offered here, these are your job as the teacher to find my approach to good teaching some lessons I've learned that are a guide for ways for every student to expeinto several pretty good rules. every day: rience some success. While all I’ve learned some of these in the #1: It is never too late to learn music. students are not academically process of working with students #2: If you make practicing, and practice or musically equal, they deserve records, a part of your expectations, of all ages. And whether or not equal opportunity and access to most students will do as you ask. they’re mentioned here, many of an education. This might mean my rules I’ve learned from the #3: Give your students opportunities to that you rewrite music for a less explore music outside of the classroom great teachers I’ve listened to talented student or create an indisetting. throughout my career. vidualized part for a child with a #4: Be careful what you say to your • There is absolutely no substispecial need. If your high school students. They will believe you. tute for musical expertise, excel- #5: Things have a way of working out. is an International Baccalaureate lent preparation, and passion for #6: Own up to your mistakes. campus, your rules for attendance your work. None. at every rehearsal might have to #7: Hold firm to your convictions.

• Great teaching takes tre- #8: Be nice to your students. They may be amended. someday be your boss. mendous energy. Energy to make • Be what you want from your it through the day, energy to #9: Every student, however exasperating in students. If you want your band class, is somebody’s “little pumpkin.” repeatedly explain the same conto be inspired, be inspiring. If you

I

Lessons Learned

Southwestern Musician | February 2016 35

Student achievement is limited only by your expectations. want them to be enthused, be enthusiastic. As John Quincy Adams said, “If your actions inspire others to dream more, learn more, do more, and become more, you are a leader.”

• My husband Rick says, “Have a really good plan, don’t give up on it, and give it enough time to be successful.” Never,

36 Southwestern Musician | February 2016

ever, ever give up. With that in mind, always arrive at rehearsal well prepared— every day. Students will immediately sense if their directors don’t know what they are doing. It can be like sharks to blood—do not voluntarily be lower on the food chain.

• I believe the best classroom manage-

ment/discipline plan is one with few rules but clear procedures. Some issues during rehearsal are not actually discipline problems. They are instead glitches in the process and procedure. If that’s the case, practice your procedures. During my first week at El Paso’s Morehead JH, I passed by an orderly line of children carrying stringed instruments. They were silently moving to their chairs single-file past Ida Steadman (known for her persistence).

They were learning the correct way to enter the orchestra room. Approach discipline for what it is—refining behavior to meet established criteria.

• As my friend Lynne Jackson says, “Whatever is happening in your band hall, you are giving permission for it.” If there is lack of focus during rehearsal, students are chewing gum, or slouching in their chairs, you are giving permission for that.

(Just because the students learned correct posture in beginning band doesn’t mean that they continue to demonstrate it without occasional reminders. I have been known to correct slouching body posture even at the university level.) Conversely, when students arrive to practice during lunch, that’s also your fault.

• Remember that your class may not be the most important thing in your students’ lives on a particular day. Keep things in rational perspective. Your rehearsal room should be inviting and safe. The question to ask yourself at the end of the day is: “Would I have wanted to spend an entire class period with me?”

• Don’t take yourself too seriously. It is vital for you to be as human and humane as you can be to your students. You can and will make mistakes, so admit them, laugh at them, even point them out. Your students and their parents will admire and respect your pursuit of perfection, but they will like and love you when they see you are truly no more perfect than they are.

• Never give up on your students. My band director, Mr. McEntyre, told me the story of Mike Barry. As a seventh grader, Mike was last chair cornet in beginning band, arguably the worst player in the entire group, and he remained last chair throughout that and the following year. It would have been easy for Mr. McEntyre to give up on Mike and concentrate on the other 124 beginners who demonstrated more promise. But he didn’t. As a result of Mr. McEntyre’s continuing

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support (or prodding), Mike made a decision the summer after he finished eighth grade. He committed to work on learning—really learning—his instrument.

In ninth grade, he sat first chair and was elected band president. He made All-State in high school, studied music in college, and became a high school and eventually a university band director. What would have happened to Mike (and all the other students) if Mr. McEntyre had given up?

• Expect more and tolerate less.

Student achievement is limited only by your expectations. Teach your students to aim high and to consider themselves capable of great things. And remember, excellence is not the goal you pursue.

Excellence results from the consistent pursuit of perfection—every attack, every release, tone, the way each player blends with the ensemble, and more.

• Invest time in fundamentals. As Aristotle commented, “It makes no small difference, then, whether we form habits of one kind or of another from our very youth; it makes a very great difference, or rather all the difference.” While he wasn’t referring to clarinet embouchures, the statement rings true in music. Clearly, we should invest the time regularly to discuss matching tonal energy, articulation, rhythm, technique, intonation, and more.

Yet we often don’t believe we have the time. Not teaching these things, however, is precisely the reason we don’t believe we have time. If you can’t afford the time to spend 15–20 minutes of rehearsal away from the concert music, then you have over-programmed. It’s that simple.

• Teach style from the very beginning.

I disagree with learning the notes and rhythms first and adding the articulation, dynamics, and phrasing later. Before you begin a section, inform the band. “These notes are detached. The trombones have chords, so they need to play below the melodic line. Give a little accent to the first note of the slur, and don’t forget to lift the last note of the slur to prepare for the upcoming staccato.” Sing it to them demonstrating the style. Have them sing and copy your style.

• Rehearsals must have a sense of urgency. Have you ever heard someone comment that their testing calendar is why they couldn’t fully prepare? “We just needed a few more rehearsals.” The fact is that the number of rehearsals we have changes from concert to concert and

year to year. If you consistently feel as if you needed one more rehearsal, there is a greater issue at hand. We and our students sometimes have a tendency to approach early rehearsals lightly and wait until the last minute to get serious. Don’t let the number of rehearsals you have dictate your band’s productivity. When you start treating every rehearsal like the last rehearsal, you will have the sense of urgency that every great ensemble needs—not frantic or desperate, but purposeful.

• Provide your students with opportunities for individual growth. In Texas two

activities supply this opportunity: TMEA auditions and UIL Solo & Ensemble contest. While these are important, be sure students are focused on the music.

Competition can be a positive opportunity, but it is extremely easy for young students to replace musical rewards with hardware rewards. Participating in Solo & Ensemble contest will help young players develop confidence. Working on chamber music allows students to work on all the same concepts you are addressing daily in band rehearsal: matching style, balancing to the melody, listening to each

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Southwestern Musician | February 2016 39

other for tuning purposes, plus technical development—all on a much smaller scale than full band.

• We all need to observe great teachers.

How many times have you have taken a full day to observe another band director at work? No one knows better than a music teacher what it is like to feel so different from everyone else in the building. Even if there are several music teachers on your campus, you are probably still the only person who teaches exactly what you teach. So you would think we would all be looking for ways to learn from one

another. But we don’t. We are so dedicated to our students and our ensembles that we think they cannot function without us. Before this school year is out, take a professional day and visit a colleague.

Directors never keep great teaching ideas secret—they all want to share their successes.

• Select effective repertoire. Choose only the best quality music for your students. There is so much great music out there now. There’s also a lot that’s not as great. Be discerning. Too many of us choose repertoire that is too difficult.

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Inexperienced directors sometimes select music they played in high school or college, thinking they can teach it to their students. But this can become the very reason they cannot afford to invest time in conceptual teaching as they strain themselves trying to get ready for the concert.

I believe that less experienced teachers should rarely perform pieces that are less than five years old. Music that has stood the test of time has done so with good reason in most cases.

When you pick music for a festival, choose music that demonstrates the skills your students already possess. Don’t pick American Overture for Band because you want to develop your horns and teach your trumpets how to double-tongue. (If you want to use some particular piece to develop some skill, great. Just don’t play it for a festival.) Ensembles that are comfortable with their selections take the stage sounding confident and, for lack of a better word, prepared. If the students are still fighting notes or trying to master technique in the last few days before contest, they will be hard-pressed to sound like they have mastered it.

Marches are our heritage. Play one on every concert. I am alarmed at how few bands—public school and university—program marches. Besides being an important part of our history, marches are full of great teaching material, style, technique, and phrasing. If you didn’t grow up playing marches and aren’t confident teaching them, take this opportunity to seek help from a more experienced director—perhaps even a retired director who could mentor you.

After almost a half-century in this profession behind me, I can assure you I have never regretted choosing band directing as my life’s work. And while there are many more lessons to share than could ever be printed in any one article, I hope these observations can help you as you look forward to a long career in this most incredible profession!

Barbara Lambrecht is semi-retired, supervising student teachers, mentoring young directors, teaching Áute sectionals and lessons, clinicing bands, and conducting a community band in El Paso.

A U D I T I O N D AT E S

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F R I D AY

S A T U R D AY

February 26, 2016

February 27, 2016

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B Y

P E N N Y

ORCHESTRA NOTES

M E I T Z

Chamber music in orchestra class

A

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

February 11, 5:15 p.m.—Orchestra Division business meeting at the convention.

March 1—Texas Music Scholar application available online.

April/May—Attend your spring Region meeting.

April 1–June 1—Submit proposals for the 2017 TMEA Clinic/Convention.

s many of us are in the throes of solo and ensemble season, consider the benefits of offering a chamber music experience to all students in your program. Through playing in small ensembles, students strengthen music-reading skills, rhythmic proficiency, listening skills, and tone development and grow as independent musicians. A chamber music unit can be structured to provide an opportunity for student-directed practice, cultivating their analytical and verbal skills. Students’ confidence in their ability to figure out how to improve a passage will help build selfreliance in their musical skills.

A chamber music unit can be woven into your rehearsal day by taking one or two days each week to devote to practicing trios, quartets, and other small ensembles. Designate regular ensemble rehearsal days and assign each ensemble a practice space. Teachers rotate from room to room, helping ensembles that have bogged down figure out how to move forward again. One school that has been doing chamber music as part of their curriculum has designed a practice log to help direct student rehearsals. There are places on this document to keep track of what has been accomplished each meeting, as well as to list places that need teacher help.

Building independent musicians is a long process, and playing chamber music will strengthen individual students as well as improve the ensemble in your orchestra.

Southwestern Musician | February 2016 43

Do your planning for a chamber music unit early in the year to allow enough time to assign groups and select music. Many students prefer to choose the members of their ensembles, but, as you can imagine, those groups don’t always turn out to be well matched. Successful ensembles usually include at least one leader and students whose playing skills are at a similar level. One compromise could be to create a preference or sign-up form that includes a place where each student may list one classmate with whom they would enjoy working and one with whom they believe it would be difficult to cooperate. Teachers can take this information and build groups from each class based on these preferences. With less advanced players, it’s often helpful to assign two students to each part for added strength and security.

Once the ensemble assignments have been made, each group needs a space to practice. In many schools, this is one of the most difficult hurdles to clear. If your classes are large, there may not be enough practice rooms, or those rooms may be too small to accommodate a larger

44 Southwestern Musician | February 2016

ensemble. Think outside the box: ensembles could practice in a stairwell or the room of a cooperative colleague who has a planning period at that time. How about theater dressing rooms or office conference rooms? It’s most important that every ensemble be assigned a place they will practice each time you have chamber music so chamber music rehearsal day is routine.

Music selection can be a sticky issue.

Students frequently want to play a piece that challenges each individual’s technique. Too often, complex works present ensemble difficulties too significant for student-directed rehearsals to manage. The students will likely need to be reminded and convinced that the difficulty of their ensemble music needs to be a notch or two lower than orchestra or individual music because they will be teaching it to themselves. Save the most challenging repertoire for the most advanced ensemble from your top group.

If possible, give ensembles at least two selections from which to choose. Obtain scores for every piece. Even though it’s time consuming, if there is no published

score, create one using a music notation program. The time invested in making a score will be worth it with the time saved in rehearsal by not having to go measure by measure to figure out who has what.

Each ensemble should have a copy of the score to facilitate rehearsals.

Here are some suggestions for productive chamber rehearsals: • Before the first rehearsal, require each ensemble member to number measures in their personal parts and one of the students to number the measures in the score. If the score is a different edition than the parts, coordinate rehearsal letters and numbers so all music has all markings. My preference is to put the measure numbers in the margin at the beginning of each line rather than number every measure. For me, it keeps the music less cluttered and reduces the chance of mistaking a measure number for a fingering.

• Ask each ensemble to select a rehearsal scribe to chronicle what is covered in each rehearsal, difficulties encountered, and accomplishments.

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• Create a schedule for faculty to rotate in assisting ensembles. That can help prevent students ambushing and monopolizing teachers when they think they need help.

musicians is a long process, and playing chamber music will strengthen individual students as well as improve the ensemble in your orchestra.

• Schedule a midpoint mini-recital for the class, requiring each ensemble to perform a portion of their piece.

TMEA Clinic/Convention Update I hope to see you in just a few days at our annual convention. I’m sure this year will once again prove to be an amazing opportunity for bettering ourselves in our craft and gaining motivation to take us through the rest of the school year. If you haven’t already, be sure to complete an online personal schedule at www.tmea.org/convention as it’s your first step in creating your CPE record after you return from the convention.

And while at the convention, you’ll want to take advantage of utilizing the convention mobile guide. Go to the convention website to get directions on downloading that app and our convention guide to your mobile device.

This convention is especially exciting with the opportunities created by the expanded convention center. Our division’s clinics will still be held on the south side of the convention center in the 200s, but we will shift slightly to rooms CC 214 AB and CD for the majority of our clinics. Our Honor Orchestra and All-State concerts remain in Lila Cockrell Theater. If you haven’t already, be sure to look at the convention floor plans: www.tmea.org/2016conventionfloor.

When you arrive, you’ll see an immediate change with convention registration in a new location—through doors in the new main lobby of the convention cen-

• Create a handout with strategies for students to use when they get stuck.

Rehearsal ideas that seem so basic and intuitive to teachers don’t always occur to our students. Ideas could include identifying the problem measure(s), having each part play separately in that place while other members count and watch the score, layering parts one at a time, again while someone is reading the score, having everyone count aloud while playing, using a metronome to keep the beat steady, and holding chords while everyone adjusts pitch.

As the end of the chamber music unit approaches, provide a performance opportunity for each ensemble. In a perfect world, the ensembles will be prepared to play for solo and ensemble contest, but, as we all know, even after weeks of work, not every group will be ready for prime time. Sometimes an in-class recital is the best performance venue for younger students. On the other end of that spectrum, organize a fundraising project, such as a dessert and chamber music evening.

The success of your chamber music unit may not be immediately and quantifiably measured. Building independent

ter (accessible from a new entrance on Market Street east of the Grand Hyatt parking garage and accessible from a hallway connected to the glass wall lobby that you’re likely familiar with just beyond Lila Cockrell Theater). Be sure to reserve extra time to journey through the newly expanded exhibit hall (larger than last year’s two halls combined!).

As you make your plans, be sure to schedule attendance at our invited university orchestra’s performance.

University of Texas Symphony Orchestra Gerhardt Zimmermann, Director The University of Texas Symphony Orchestra (UTSO) at the Butler School of Music, conducted by Gerhardt Zimmermann, is becoming recognized as one of the top college orchestras in the nation. The orchestra has been featured since 2007 as part of the International Festival-Institute at Round Top’s yearly “August to April Series,” and in 2008 the group performed at the Morton H. Meyerson Symphony Center in Dallas.

The orchestra has performed to wide acclaim at the TMEA Clinic/Convention on several occasions.

Students in UTSO have had the opportunity to work with noted musicians such as Jennifer Higdon, John Adams, William Bolcom, and Claude Baker, in addition to featured appearances with the Butler School’s world-renowned faculty of soloists and composers.

University of Texas Symphony Orchestra 46 Southwestern Musician | February 2016

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Performance Assessment in the Ensemble Classroom

by Michael Alexander

M

a minimum. Add a default grade for all those who performed r. Frazer Dealy was my principal at Stratford HS the task successfully. You can translate these symbols to for 18 years (one of the truly great ones). Back in numeric grades, if needed, for your electronic grade book. the 1990s, after one of those informal observation 2. Arrange your grade book to reflect the seating of the class. visits to my class and to that of my band colleague When grades need to be taken for every student, use their (David McArthur), he said to me, “You guys in music are the seating arrangement to record grades so that you are not models for Direct Instruction—I should send everyone in our constantly jumping around in your grade book. (Most elecEnglish department down here to watch you teach.” My only tronic grade books have this function.) If that is not possible, response was, “What is Direct Instruction?” He explained that, put student names in a spreadsheet that can be sorted both in an ideal teaching situation, teachers gave instruction, monitored alphabetically (by last name) and by seating. Grades taken in student progress, and responded (I.M.R.) with appropriate praise seating order can be quickly sorted alphabetically for transfer or correction. Then I realized what he was talking about— to the grade book after class. rehearsing! He explained that the monitoring portion of the I.M.R. cycle was an informal assessment of student performance on the 3. Limit informal assessments to four measures or less. I first assigned task. Then he said, “Your saw Kathy DeBerry Brungard grade books should be full of grades, implement this principle in Plano: but the English teachers win on that It’s imperative that we offer our Assign students a short 2–4-meaone!” How is it that we ensemble students the constructive feed- sure passage to be assessed the directors can be so good at informal next day. Set the metronome at assessments (rehearsing) and so bad back that will help support them in the appropriate tempo and have their development of fundamental them play down the row one at a at keeping a grade book?

Three types of performance skills and love of music-making time, with one measure of rest in assessment are typically used to between. You can listen to a class some degree in the ensemble classof 30+ students each play four room: informal assessment, formative assessment, and summative measures in less than five minutes. This procedure can be assessment. Informal assessment is that type which occurs as completed daily or weekly and will quickly fill your grade part of the regular rehearsal process (direct instruction). There book. are several best-practice concepts I have used that are particularly effective in implementing quick and efficient informal assessments Although most teachers assess students on their achievement of student progress: on any given day, the most innovative teachers also score on student progress.

1. Only score those students having difficulty with a task.

Formative performance assessments involve averaging or mergStudents having difficulty can be scored in the grade book as ing multiple assessments together in a way that illustrates student a minus (–). When a student later shows success on the skill, progress at a particular point in time. These type of assessments the minus can be changed to a plus (+) simply by marking typically involve longer excerpts and are often used to determine through it. Those who do not demonstrate a skill correctly six weeks grades or student seating for concerts. on the first assessment can be re-scored daily until mastery Summative performance assessments function as the final exam is achieved. By scoring only those with difficulties, time for a particular time period (six weeks, quarter, or semester) and spent recording in the grade book during rehearsal is kept to are often averaged in with written tests, theory tests, ear training Southwestern Musician | February 2016 49

Type

Pro

Con

Student in Class: Informal or Formative

• Easily administered (go down the row) • Fast and efficient if set to metronome • Scoring is simple (bean counting) • Can be assigned the day before • Reflects live performance

• Can eat up class time if extensive comments made to each student • No time for thorough comments • Scoring accuracy may be imprecise • Excerpt needs to be brief (2–4 measures) • May raise anxiety level of student

Use of Assessment Software: Formative

• Generates a baseline score on an excerpt • Scoring is automatic • Home input allows multiple opportunities

• Takes some setup time • Scoring may be imprecise • Home input doesn’t reflect live performance

Student in Office: Formative or Summative

• Excerpt can be longer • One-on-one feedback • Alleviates peer-group performance anxiety

• Must be assigned a week ahead of time • Time-consuming (“dead time” between students) • Does not reflect true live performance

Recorded Test: Formative or Summative

• Multiple or longer excerpts can be used • Allows think time and precise feedback • Can be in many formats (flash drive, MP3, smartphone, etc.)

• Video allows for best diagnosis

• May take a long time to score • Takes a long time to write feedback and can eat up weekends if done often • Not all formats are easily transferred • Must have parent consent for video

evaluations, or composition evaluations.

TIPS FOR ADMINISTERING AN INDIVIDUAL PERFORMANCE ASSESSMENT Live performance assessment is latent with issues regarding implementation and scoring. The following items address best practices I have used or observed in the field: • Peer-group anxiety in live performance: Our state standards encourage live performance, and, if our assessments are authentic, we must assess our students in a live setting—our ensemble. However, I have seen significant anxiety arise in students when asked to play in front of the class. The best way I have found to reduce that peer-group anxiety in live performance assessment is to start with very brief (1-measure) excerpts at a low level of difficulty.

Play these using the informal method

described above (use of metronome with one measure between students) so that a student knows their turn and that it will not last very long.

Another method is to have the rest of the group play pizzicato, “bump” on the horns, or hum along while the individuals are testing (this also helps keep everyone else on task).

• Comments given during testing: Keep comments to a minimum when students are testing in front of their peers (the students will often be embarrassed and won’t remember anything you said anyway). When scoring, stand next to students and quietly provide constructive comments only during the interval between students (usually one measure, using the informal procedure described above).

• Length of excerpt: The longer the excerpt, the more class time needed.

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50 Southwestern Musician | February 2016

• Manner of scoring: When scoring longer passages (in your office or via recording), make copies of the excerpt so that you can circle errors or write comments and give it to the students.

• What to do with students not being assessed: — Have a written assignment to be completed in class as the assessment is administered.

— Have students write individual critiques for each student, or complete a performance checklist (sign their name).

— Have students shadow bow or play silently along with individual being assessed.

— Have students say note names, rhythms, solfeggio, fingerings, bowings, etc.

I hope these tips will help you develop a grade book that reflects student progress, measured in an authentic manner.

It’s imperative that we offer our students the constructive feedback that will help support them in their development of fundamental skills and love of musicmaking.

Michael Alexander is Associate Professor of Music Education at Baylor University.

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B Y

R O B E R T

H O R T O N

VOCAL NOTES

The second half

I

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

February 11, 5:15 p.m.—Vocal Division business meeting at the convention.

March 1—Texas Music Scholar application available online.

April/May—Attend your spring Region meeting.

April 1–June 1—Submit proposals for the 2017 TMEA Clinic/Convention.

admit that I love football. Now that the high school and college football seasons are over, and the NFL season is all but done, I am really missing it. I love to watch games and speculate about how the coaches will make adjustments for the second half. Over the years, I have watched highly successful coaches and have read several of their books. The topic of leadership has always interested me. I wanted to know how they did what they did. Coaches fascinate me because they have to blend motivation and instruction, and they are evaluated on the success of their teams.

Mathematically, I know that February is not halftime, but I do know that after the amazing TMEA Clinic/Convention, we have the chance to begin the last part of the year with renewed enthusiasm.

As choral directors, we share much in common with coaches. We have the opportunity to teach, inspire, and lead. The success of our teaching is measured by the efforts of our students. As an undergraduate, I learned what I thought was the golden mantra of teaching—tell them what you are going to teach them, teach them, tell them what you just taught them. Over the past 25 years, this simple strategy has often worked well. However, I have come to believe that there is much more to teaching. The act of teaching is so complex. We must be competent in our subject, have the skills to diagnose and correct faults, and adapt this process with students of varying skill and

I hope that your second half is great. One of the remarkable dynamics in education is the chance to constantly reinvent ourselves.

Southwestern Musician | February 2016 53

experience levels. I don’t want to pretend that I have all the answers, but I do want to offer some thoughts that may help you as you think about how successful the second half of your year can be.

Have you done some serious thinking about your role as a teacher? Leadership is influence. We are in the people business.

Let’s start by thinking about our students.

Leadership guru John Maxwell says that 80% of our success as leaders is who we “bring in the front door.” Successful people position themselves well; successful leaders position other people well. This idea implies that you will have a clear vision of how you want things to be, what you want the students to know, and how you want to help shape their experiences.

Where are you going? As leaders, we are also charged with equipping them with the skills they need to be successful. Everyone communicates, but not everyone connects. I know that when I began teaching and the students were not as successful as I thought they could or should be, I found myself saying, “I don’t know why they can’t (fill in the blank) that I taught them.” As I grew as a teacher, I began reminding myself that if they did

not learn it the way I taught it, then I must teach it the way they could learn it.

Build the team. The success of our students is their work, based on what we have taught them, how we have led them, and ways we have inspired them.

But make no mistake—it is a partnership.

They reflect us, but it is their work. The most successful teachers and choral directors I know always give the success and achievements of the ensemble or program to their students. Leaders do not cross the

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Southwestern Musician | February 2016 55

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finish line first, they bring people with them. Another expression I have heard all my life is that if you think you are a leader, and no one is following you, you are just out for a walk.

Be who you want to attract. Ralph Waldo Emerson said, “Nothing great was ever achieved without enthusiasm.”

Cultivate the attitudes and behaviors in yourself that you want to see in your choir program. Encourage students to embrace leadership, and keep service at the center of all you do. Look for opportunities outside the choir room to serve your school and community. Look for ways to promote your choir program, and spread your message. The energy it takes to build those connections will pay dividends for continued growth and success.

I hope that your second half is great.

One of the remarkable dynamics in education is the chance to constantly reinvent ourselves. I encourage you to take some time to look back at where you and your students have been. Reflect on your journey. Plan for where you want to go in the future. Seek wise counsel and reach out to a mentor. Work your plan with great

enthusiasm, faith, and patience. As you continue your journey, please let me know if I can be of assistance to you and your students.

TMEA Clinic/Convention Update Attending the convention and being open to many opportunities for learning and discovery is the perfect place to prepare for this second half of the year. When you arrive, you’re in for a big change with the expanded convention center and with most of our Vocal Division events being in the Grand Hyatt.

The first place you’ll experience change is in the location and process of registration. Convention registration is located through the back doors of the new main lobby of the convention center. The front doors are on Market Street east of the Grand Hyatt parking garage; however, you can also get there from a new hallway connected to the glass wall lobby you’re used to walking through just beyond Lila Cockrell Theater.

The Grand Hyatt on Market Street, adjacent to the convention center, is where you’ll find most of our clinics and con-

certs. It’s an easy walk from the Grand Hyatt to the convention center main lobby, so getting to the amazing TMEA exhibit hall will be easy!

Before you come to the convention, check out the convention floor plans at www.tmea.org/2016conventionfloor.

Be sure to download the free Guidebook app to your device and get the TMEA 2016 convention guide. The guide includes the schedule, maps, exhibitor lists, and much more.

Attending the Wednesday Technology Preconference?

When you arrive, go through the doors near Lila Cockrell Theater and then straight into the center, up the escalator to the second floor. You’ll pick up your preconference badge outside rooms CC 209–213. You do not need your TMEA badge to attend the preconference.

Make time to explore the expanded center and be sure you have ample time in your schedule to shop in the expanded, single exhibit hall that’s larger than our two previous halls combined!

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H

ow would you define a musical performance? One given is accurately presenting the concrete information notated in the score. To be musical, one first needs to play an overwhelming proportion of the indicated pitches, durations, and other indications correctly. But to truly achieve musicality, we would have to go beyond this, to concepts that can be elusive, involving things not explicitly indicated in the score.

When we add something in our performance that isn’t directly indicated in the score, we are imposing an interpretation upon the music. We are transforming the information and the implications in the score into sound. While the act of performing the explicit can be challenging enough, the decisions involved with the implicit can become even more daunting.

Regardless, we feel compelled as musicians and teachers to bring our students to that holy land of musicality. For many of us it is the primary reason we are in this business. At the TMEA convention we listen to performances by accomplished students and ensembles. They wouldn’t have gotten this far had they not already conquered most of the explicit. Their convention performance offers them the opportunity to explore the implicit.

Hopefully, through interaction with other fabulous performers

and directors, they will grow in ways not spelled out quite so clearly. How should you shape a phrase? Where and how should you release to the downbeat on a cadence? When involved in a dissonance, what should be done in response? Does one even recognize the nature of dissonance in a given style? Many other questions arise and demand answers in every measure of music.

Clearly, music is subject to interpretation. We should remember that interpretation is not an act of creating anew. It is the understanding of what has been communicated by a speaker, author, or composer, and finding a way to present that to someone else. The interpreter (in music, the performer) is free to discover the best way to do this given the circumstances, but the original meaning must always be preserved.

Consider the example of language. With regard to symbol, written language provides even less information than music about transforming it into sound. It makes explicit only phonemes—sounds. There are suggestions of duration, articulation, and timbre, but all of this is contextual. Regarding pitch and dynamic, there is no specific information.

Language does provide specific meanings, but even these are governed by context. We don’t normally speak a sentence sensibly by determining the meaning of each word and ascribing Southwestern Musician | February 2016 59

an appropriate sonic interpretation. We are much more fluid in our process. Each sound has a place relative to the other, and we adjust our performance to clarify this hierarchy. We create this wave of sound by musical means—adjusting pitch, duration, timbre, articulation, and dynamic at a dizzying pace so as to make the meaning intelligible. In fact, these interpretive gestures are as important as the explicit word sounds themselves.

Similar to how we must inherently adjust our speech to make our meanings explicit, musicians must make a multitude of interpretive decisions, and each listener has definite opinions as to the appropriateness of the interpretation. We can and do judge interpretation based upon explicit information! Furthermore, we are comfortable explaining the exact reasons for our judgments.

As we think about interpretation, consider whether the explicit in music (pitches, duration, etc.) should be taught and learned first and then the implicit (musicality) added afterward. Or are these concepts to be integrated somehow in instruction? If so, how does one integrate the elements of musicality into the teaching of pitch and rhythm?

In a TED Talk, Boston Philharmonic Conductor Benjamin Zander discusses the maturation of the young musician in moving from individual beat emphasis in the early years of learning to longer sustained phrases. Much like a good writer learns to color their ideas with just the right number of adjectives and adverbs or an orator learns to use just the right emphasis to get exactly the right point across, so does the musician learn the natural approach to making musical points. (To view the talk, go to www.tmea.org/TEDBenjaminZander.)

Though developing a mature sense of musical intuition is a

challenge for all musicians, it can be particularly difficult for those who don’t play melodies regularly in ensembles from an early age (e.g., double bass, tuba, percussion). One practical solution to this is to have these students play melodies—not only in private lessons, but also in chamber groups. Or have all members of an ensemble sing the melodies of a work to get a sense of phrasing and understand accompaniment.

This study must be part of the applied curriculum. Teachers should encourage students to explore the use of devices such as change in dynamics, timbre, and articulation. Before learning to apply these devices for higher musical purposes, one must become comfortable and technically conversant with them.

Instead of focusing only on the small details extracted out of context (a certain fingering, a legato bowing), whenever possible, we should ask, “Does that sound right?” or “Is this coming out the way you want it to?” Through this guided discovery, the same results can be achieved as when we extract the fundamental details, but students will leave the experience with the sense that they have discovered the solution themselves. In doing so, they learn a transferable skill.

The teacher might know that a specific fingering is the best way to get a phrase to smooth out, but the student will be much more likely to truly understand it if they are allowed to come to the same conclusion through their own discovery process. And at times, the student will find a new fingering, bowing, dynamic, bow placement (read: timbre) that the teacher thought should not work, but through sheer musical will, the student found success.

They often know how the music is supposed to sound, but they just need to sort out the technical difficulties of their specific

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60 Southwestern Musician | February 2016

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instrument to get where they want to be.

There are two distinct skill sets that the student/musician must attempt to master: 1. Recognition of explicit information and the ability/technique to perform what is discovered.

2. Recognition of implicit information and the ability to decide upon appropriate adjustments to communicate this information to an audience, and the ability to perform in response to these findings.

As you work with students to help them develop the knowledge and techniques to successfully interpret music, consider utilizing exercises that illuminate the following: Meter: Sing/play same melody in different meters and discuss the way this influences one’s interpretation of the melody.

Pitch relationships: As a starting point, consider the pull between half steps—especially ti to do and fa to mi.

Line shape: Start with the basics: Up, become more intense; down, less so. Also consider change of direction as targeted moments in line.

Contrapuntal/Harmonic context: When more than one line is present, the movement from dissonance to consonance must be recognized.

Expression indications: Which sound elements will be changed to create an effect?

Form: How does what is going on now relate to material (themes, keys, tempi, etc.) that came earlier, and what might one do to make that relationship clear to the listener?

Style: Consider interpretive norms associated with particular

styles. This is especially important in matters of articulation and durational/tempo variation.

Textural context: Consider the role played by your part within the texture especially in relation to dynamic balance and durational precision.

Text: Remember that the song is the composer’s reading of the words, not the performer’s.

One assignment might be to have a student learn a piece and apply dynamics and articulations as well. The student may place, and play, each of the following dynamics once: piano, mezzo forte, and forte. They must make the decisions, by ear or eye, and in so doing come to terms with interpretation. We shouldn’t be so concerned with validity of their decisions, although they will very likely be sensible. The objective is the process of decisionmaking, performing, listening, and bringing the result under review in the lesson.

Such an exercise might be expanded to include additional dynamics and dynamic changes as well as the charge to apply articulations. Perhaps, at a future point, the student creates something like the following edition. There is certainly much to be said for the sense of these interpretive choices and discussion

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in the lesson could lead to a wonderful joining of eye, ear, and mind. Reason informs intuition and vice versa.

There are many elements, explicit and implicit, that affect interpretation. These can be identified, described, and assessed for their impact upon the entire work. In turn, there are a number of sonic parameters subject to manipulation that can be identified, described, notated, performed, and, most importantly, taught!

Discussing how important it is for students to learn to use musical intuition is one thing; implementation is an entirely different matter. In some cases this could mean letting go of a controlling teacher mindset where one believes that students must be told each detail of interpretation. It could mean letting students

make choices but helping them when they have too many ideas that need to be narrowed down logically. In addition to information gained from aural experience, teachers can help students engage in active, conscious learning and application.

As an overarching goal, students should be made aurally and visually aware of the elements of sound, terminology, and notation associated with the manipulation of these elements and how to employ them in performance. To be fully literate in this regard, the student should also be able to describe, sing, notate, and play what is seen or heard.

Most of us, even very young people, know it immediately if we hear an excellent orator or if a speech is unnatural and contrived. Music is no different, but students need to build a level of aural experience, cognitive understanding, and confidence in their own intuition to make sensible judgments.

Blaise Ferrandino is Professor of Music Theory and Composition at Texas Christian University. Nicholas Scales is an Assistant Professor at West Texas A&M University. Ferrandino and Scales will be presenting a clinic during the 2016 TMEA Clinic/ Convention.

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re you the teacher on campus who every student can’t wait to see? It’s a great feeling to know your students look forward to music; however, it hasn’t always been that way for me. I had that one group of fifth graders a few years ago that I dreaded, and I know some of them dreaded music class as well. The magic formula is different for everyone. For me, there are four things necessary to ensure a successful year: planning, preparation, flexibility, and mystery.

Planning As soon as the previous year is over, I start my lesson plans for the following year. Until this year, I kept them in Excel, but now they are in Eduphoria, the software my district uses. After each lesson (or a couple of weeks later when I have time), I make notes on my current lesson about what went well and what I would like to change for next year. This helps me shore up the lesson during the summer. At the beginning of the semester, I turn in my lessons for the next few months, knowing that testing and unforeseen programs may necessitate changes. By planning ahead and seeing the big picture, I have long-term goals instead of individual lessons.

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

February 11, 5:15 p.m.—Elementary Division business meeting at the convention.

April/May—Attend your spring Region meeting.

April 1–June 1—Submit proposals for the 2017 TMEA Clinic/Convention.

Preparation The best lesson plans don’t work if you don’t have all of your materials available. You also need to review your plans the week before you teach them so you are prepared. Each year, I do The Nutcracker musical with my fourth graders. It has become such a habit that I waited until the week before the musical to make sure all of the costume parts were in order. Somehow, a box of 24 leotards was missing! That weekend, I had to search all over Houston

The best part of being a music teacher is the opportunity to bring excitement into our kids’ lives.

Southwestern Musician | February 2016 69

for replacements. If I had started earlier, I could have ordered them online and saved a lot of money, time, and stress. It’s such a simple and obvious point, but sometimes it’s one that’s worth repeating.

Flexibility Your lesson plans are just that, plans.

When the lesson begins, some classes will breeze through the activities and others may struggle. Plan extra materials for the faster students and be prepared to review

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Roger will be presenting at TMEA for the th third consecutive yyear. Join him for aan exploration of “Ostinati, Descants, and Other Musical Marvels” M in February 2016.

or finish lessons in an upcoming class.

Rarely does a week go by in my school that there is not a change in my schedule.

If you do block scheduling, maintaining a good relationship with your team will ensure that they will be willing to give you extra time before performances when you need it.

Mystery The best part of being a music teacher is the opportunity to bring excitement into our kids’ lives. At the MATCH conference in October, Cheri Herring shared the idea of having a “mystery tent” in her classroom. I have implemented this idea over the last few weeks. The entire school was abuzz about what the surprise might be. This week, when the kids finally earned the right to enter the tent, the third through fifth graders got to see a copy of a Mozart manuscript via electronic candlelight. We discussed how different the circumstances were for Mozart to write music, from not having electricity to using a quill and ink. Then, the kids used feathers and India ink to write their own music.

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The kindergarten through second graders found a 3D pen in the tent. I bought it at RadioShack for about $60 on Black Friday. The kids chose a music symbol to draw with the pen and got to take their creation home.

You donâ&#x20AC;&#x2122;t have to spend a lot of money to create mystery in your classroom.

Simply telling my students in advance that Iâ&#x20AC;&#x2122;m going to the TMEA convention and canâ&#x20AC;&#x2122;t wait to show them what I learn leads them to anticipate my return and see what new activities Iâ&#x20AC;&#x2122;ve discovered. This year, as you get ready to go to our convention, promote it with your students. Get them as excited as you are. You can get the students used to you bringing a different instrument, puppet, or new book back each year.

Step Out of Your Comfort Zone I encourage you to look back through your December issue of SOUTHWESTERN MUSICIAN and the online schedule and create a schedule that allows you to make the most of your time at the convention.

Consider visiting a clinic or concert in another division. If you are a KodĂĄly diehard, try out an Orff session. If your life is Orff, check out a KodĂĄly session. Our featured clinicians are two of the best in their fields. This year, we will even have a ukulele session.

Finally, be sure to come to our Elementary Division meeting. Our guest clinician is Steve Campbell from Dancing Drum. It promises to be a fun-filled evening of singing and drumming. In addition, there will be many amazing door prizes. See you there!

Clinic/Convention Updates I look forward to seeing you at our amazing convention in just a few days!

As you make your final preparations to attend, be sure to go to www.tmea.org/ convention for information on travel, floor plans of the newly expanded facility, and much more.

When you arrive, the first change youâ&#x20AC;&#x2122;ll experience is the location and process for retrieving your TMEA convention badge. Convention registration is located through the back doors of the new main lobby of the convention center. The front doors are on Market Street east of the Grand Hyatt parking garage; however, you can also get there from a new hallway connected to the glass wall lobby youâ&#x20AC;&#x2122;re

used to walking through just beyond Lila Cockrell Theater.

Attending the Wednesday Technology Preconference?

When you arrive, go through the doors near Lila Cockrell Theater and then straight into the center, up the escalator to the second floor. Youâ&#x20AC;&#x2122;ll pick up your preconference badge outside of rooms 209â&#x20AC;&#x201C;213. You do not need your TMEA badge to attend the preconference.

Make time to explore the expanded

center and be sure you have ample time in your schedule to shop in the expanded, single exhibit hall thatâ&#x20AC;&#x2122;s larger than our two previous halls combined!

Creating Your CPE Record Be sure to create an online personal schedule at www.tmea.org/convention so that after the convention, you can return to your saved schedule, update it to show which clinics you attended to completion, and print your CPE record to submit to your administration.

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COLLEGE NOTES

B Y

M I C H E L E

H E N R Y

Planning for success and achieving it

T

he College Division of TMEA represents a diverse group of music educators, from future educators and college students to music education faculty and college faculty in other areas of music study, from community colleges to four-year universities to graduate schools. It has been my privilege to work with and on behalf of this division for the past two years. I can honestly say that my respect for and pride in TMEA as an organization has increased exponentially. It is crucial that our preparation of the next generation of music educators remains at the highest level, and that faculty in Texas colleges and universities continue to lead the way in research and inquiry in music education. Our voice is an important one when it comes to advocacy and policy-making. We are fortunate that our expertise and experience are recognized and valued within TMEA. I am so pleased to be associated with an organization that does so many good things and all with the proper motivations. Music education in Texas is in good hands and continues to set the example for the rest of the nation.

The January College Division column detailed much of the work that occurred during the College Division Fall Conference in October 2015, including reports of four breakout groups from the morning session: twoyear colleges, field supervision issues, TExES preparation, and mentor teacher training. The afternoon breakout sessions were equally productive. Please

It is crucial that our preparation of the next generation of music educators remains at the highest level, and that faculty in Texas colleges and universities continue to lead the way in research and inquiry in music education.

74 Southwestern Musician | February 2016

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

February 11, 5:15 p.m.—College Division business meeting at the convention.

April/May—Attend your spring Region meeting.

April 1–June 1—Submit proposals for the 2017 TMEA Clinic/Convention.

WAYLAND BAPTIST UNIVERSITY

SCHOOL OF MUSIC PURSUE TRADITIONAL MUSIC DEGREES IN A CHRISTIAN LIBERAL ARTS SETTING

Wayland is among the most affordable universities in the nation.

According to a recent survey, our students chose Wayland for “affordability, Christian atmosphere and scholarship availability.”

read the following reports from those groups, as we will revisit some of these topics during the College Division business meeting at 5:15 P.M. on Thursday, February 11, in room CC 301.

Community Engagement Kristen Bugos, East Texas Baptist University, Leader: The Community Engagement group identified various ways in which schools or departments of music represented have been able to interact with their campuses and communities. The session essentially became a best-practices idea bank for community engagement. This is a topic I have consistently featured here over the past two years through articles highlighting music education preparation programs in the state that host instrument petting zoos, home school music instruction, string projects, and a music program for special learners. Additional engagement activities shared in the breakout session included: • Members of Kappa Kappa Psi playing along with private school bands at their football games • A choir program studying music from an area of the world and collecting shoes to be sent to that area through the Soles4Souls program • An instrument loaner program for disadvantaged students, where college student mentors help the K–12 students learn about instrument care, attend the students’ concerts, and invite them to attend college concerts • Community music programs (children’s choirs, string projects, mariachi groups) housed on campuses, with instruction provided by college faculty and students • A local ASTA chapter that has informal concert and outreach programs at a local public library • A docent program through a local symphony orchestra in which college students are paired with adult docents to go into schools, particularly in lower income areas

and then gives the classroom instruments to the participating schools

Collegiate Music Education Award Caia McCullar, Dallas Baptist University, Leader: This breakout group explored the potential of initiating an award program for college students, similar to the Texas Music Scholars program for outstanding high school music students. The purpose of the award program would be to recognize the very best college graduates entering the music teaching profession. This would be a venue for them to be recognized for the quality of their work during college, and it would provide a means for potential employers to identify those

• Annual production of a children’s opera performed on campus, at a professional venue, and in the schools The group also discussed some of the challenges of hosting the community in campus facilities, including lack of space, scheduling, and weekend access.

If you would like more specific information about any of these programs, please contact session leader Kristen Bugos at kbugos@etbu.edu.

MUSIC AT OLLU SPRING AUDITION DATES: Saturday, Feb. 6, 2016 Saturday, May 7, 2016

OUR LADY OF THE LAKE UNIVERSITY OFFERS: Bachelor of Music Minor in Music

THE PROGRAM EMPHASIZES: Choral conducting Music ministry Mexican-American music Ethnomusicology Music theory Music history Music technology Performance study

APPLICATION AND SCHOLARSHIP AUDITION DAYS The OLLU Music Department will hold application and scholarship audition days on Feb. 6, 2016 and May 7, 2016.

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

• An instrument petting zoo as a part of a homecoming carnival • Grants for classroom instruments written by and awarded to a university that invites local schools to participate in an on-campus instruction

Dr. Elizabeth Dyer • 210-528-7082 • edyer@ollusa.edu • 200B Fine Arts Building www.ollusa.edu/MusicDept Southwestern Musician | February 2016 77

ry 5-6 Februa 4-5 March

6 1 5 1 20 Auditions p i h s r a l o h Sc

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applicants who have distinguished themselves among their peers.

This group identified potential criteria for the award, which may include graduation candidacy, a minimum grade point average, membership in TMEA and other professional activities, community engagement or other involvement in non-mandatory music instruction, and recommendations from college faculty members. Recognition for the award recipients could include cords for their graduation regalia or a certificate from TMEA. The potential program and criteria for it were discussed at the January TMEA Executive Board meeting.

Further discussion and a possible proposal will occur at the College Division business meeting during the convention.

Inclusion in Music Education Russell Gavin, Baylor University, Leader: This breakout session represented the first organized meeting to assemble the newly formed Committee for Inclusion in Music Education. Judith Jellison, UT/ Austin, will chair the committee for the first year, as it sets its agenda and commences work. The committee will consist of a minimum of one representative from each TMEA division, with the anticipation of multiple members from the College Division. The committee, with founding College Division members Judith Jellison, Russell Gavin, Don Taylor, Charlotte Mizener, and Laura Hicken, along with others interested, will convene at the convention. If you are interested in attending, contact Judith Jellison at jjellison@austin.utexas.edu.

This committee’s initial topics for conversation included obtaining UIL and TMEA policies for students with disabilities, compiling resources for an “Inclusion” section of the educator toolkit currently housed in the Teaching Resources section of the TMEA website, encouraging undergraduate and graduate students to consider writing about inclusion topics for the TMEA essay contest and other appropriate venues, and the future possibility of the committee hosting a booth or resource area during the annual TMEA Clinic/Convention for those who have questions or would like additional information on how best to serve this population of students. This committee has many important ways in which it can serve our membership and

students in Texas. If you would like to be involved, please contact Judith Jellison at jjellison@austin.utexas.edu.

Research Amy Simmons, Texas State University, Leader: A large number of the members present at the Fall Conference are active researchers in music education. Those who participated in this breakout session examined the various ways in which TMEA helps facilitate and disseminate research, with the goal of identifying ways in which we might be more effective as an

organization. All members of the group were uniformly pleased with the advances toward discoverability of the Texas Music Education Research (TMER) online journal that have taken place over the past six months. In their report, the session members suggested exploring options for software to aid in the editing of the journal (currently edited by Mary Ellen Cavitt, Texas State University) and for submitting abstracts for the annual research poster session, similar to those used for other research submission-based events. Amy Simmons, coordinator of

TAKE CENTER STAGE. 2015-16 AUDITION DATES NOV. 21, 2015 JAN. 23, 2016 FEB. 20, 2016 MARCH 5, 2016

SCHEDULE YOUR AUDITION. TXWES.EDU/AUDITION Texas Wesleyan University | Department of Music | 817-531-4992 | music@txwes.edu | txwes.edu/music

Southwestern Musician | February 2016 79

the annual research session is investigating the options. In regard to editing of TMER contributions, discussion was held about raising the standard for publication acceptance so that extensive editing is not required to produce a professional product. The recommendation was also made to include a compilation of the abstracts presented as a part of the annual research poster session as a single contribution to TMER. Paper abstracts will no longer be required for the annual research poster session. Instead, a digital copy of abstracts of those projects selected for inclusion in the session will be compiled into a single PDF that will be available for download to those attending the session (both through the Guidebook app and through QR codes posted at the event). Revised abstracts (with updated findings, for example)

had to be submitted by January 18, 2016.

For those who didn’t submit revised abstracts, the abstract used for application will be included. The posters from the research session will remain on display from the time of the event (Thursday, February 11, 3:45–5:15 P.M.) through the evening of Friday, February 12. Full versions of the final research report will no longer be required. All those present at the Fall Conference affirmed that these changes should serve to increase the quality and accessibility of research and aid the research and reporting process for all involved.

Clinic/Convention Reminders • The College Division office will be housed in CC 302A. Please stop by and say hello, as well as use the offices as a resource for information

For All Things Convention W W W.TME A .ORG/CONVENTION

RBC MUSIC COMPANY INCORPORATED

80 Southwestern Musician | February 2016

during the convention. This is a new room in the north side of the convention center on the third floor, easily accessible by the escalators from the new main lobby.

• Make plans to attend the Research Poster Session at 3:45 P.M. on Thursday in the CC Park View (in front of CC 214), followed immediately by the College Division business meeting in CC 301.

• With the expansion of the convention center, be ready to experience change in locations, the first of which will be where you complete registration.

The registration hall will be accessible from the new main lobby that you can enter from Market Street (just east of the Grand Hyatt parking garage) or from a new hallway leading there from the glass wall lobby that you are used to seeing after you pass by Lila Cockrell Theater. For detailed floorplans, go to www.tmea.org/2016conventionfloor.

I look forward to seeing you in San Antonio in just a few days!

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

2016 Events Dallas

San Antonio

April 23

April 22-23 May 6-7

Performances at Mansfield ISD Center for the Performing Arts

Performances at Edgewood Theatre of Performing Arts

musicfesttexas.com