February 2018 Southwestern Musician

FEBRUARY 2018

PRESIDENT Andy Sealy PAST-PRESIDENT Dinah Menger PRESIDENT-ELECT Robert Horton

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FEBRUARY2018 8 6

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I S S U E

contents

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features

V O L U M E

columns

Distinguished Administrator Spotlight . . . . . . . . . . . 14 TMEA continues to provide members the opportunity to recognize outstanding school administrators for their support. Read about administrators who have recently received this distinction.

Have a Caviar Program on a Tuna Fish Budget . . . . . . 31 If you are challenged by a tight budget but have big plans for your program, you don’t have to give up. Find ways to stretch your funds and give students the opportunities they deserve.

BY LEIGH ANN MCCLAIN

How Hurricane Harvey Altered My Perspective as a Teacher. . . . . . . . . . . . . . . . . . . . . . . 47

65

Experiencing the stress caused by this devastating event, this director has a greater understanding of the struggles many students face in their everyday lives.

BY JEFF COLLIER

Change Your Approach with Restorative Practices. . . 56

President’s Notes ............................................. 4

by Andy Sealy

Start addressing the root of challenging student behaviors rather than reacting to their results.

Executive Director’s Notes.................10

BY CARA CRAGGETT

by Robert Floyd

Did You Know? How Music Shapes Us. . . . . . . . . . . . . 65

Band Notes ............................................................21

These 10 fun facts about music underscore how what you do as a PXVLF HGXFDWRU PDNHV D VLJQLÀFDQW GLIIHUHQFH

BY DONALD A. HODGES

by Joe Muñoz

Orchestra Notes ..............................................37

by Brian Coatney

Vocal Notes ...........................................................50

by Derrick Brookins

College Notes .....................................................73

by Si Millican

updates

Elementary Notes ..........................................60

by Casey Medlin

Your Convention CPE Record & Convention Parking/Shuttle .............. 2 TMEA Clinic/Convention: What to Know Before You Go........................ 9 2018 President’s Concert: From the Top & Black Violin.....................43

Southwestern Musician | February 2018

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

Managing Editor: Karen Cross

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

TMEA Executive Board

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.

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

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

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

Band Vice-President: Joe Muùoz munozj@pearlandisd.org 3775 South Main Street, Pearland, 77581 281-997-3219 – Pearland HS

Orchestra Vice-President: Brian Coatney brian.coatney@pisd.edu 1313 Mossvine Drive, Plano, 75023 469-752-9396 – Plano Senior HS

Vocal Vice-President: Derrick Brookins derrick.brookins@pisd.edu 2200 Independence Parkway, Plano, 75075 469-752-9430 – Plano Senior HS

Elementary Vice-President: Casey Medlin casey.medlin@fortbendisd.com 2215 Sandy Sea Rd., Rosenberg, 77469 281-634-4634 – Brazos Bend Elementary

College Vice-President: Si Millican si.millican@utsa.edu One UTSA Circle, San Antonio, 78249 210-458-5334 – UT/San Antonio

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

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

1. Now: Create a personal schedule online. • Go to www.tmea.org/convention • Go to the Schedules page and click on Personal Schedule • Log in with your username and password

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 to completion, 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.

www.tmea.org/convention $10 Daily Convention Parking Alamodome Lots B–C + Free Shuttle Service Thursday–Saturday The City of San Antonio is offering attendees $10 daily parking at the Alamodome Lots B–C (entry by 5 p.m.).

TMEA will provide free shuttle service from Lot B to the convention center. You can also use the walkway from north of the Alamodome under I-37 to the center.

Thursday: 7:30 A.M.–9:30 P.M. Friday: 7:30 A.M.–9:30 P.M. Saturday: 8:00 A.M.–10:00 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.

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

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Southwestern Musician | February 2018

Degree Programs Bachelor of Arts in Music Bachelor of Music in Performance Bachelor of Music (teacher certiďŹ cation)

Performance Opportunities A Cappella Chorus Big Purple Marching Band Chamber Singers Concert Band Jazz Combos Jazz Ensemble Opera Percussion Ensemble Steel Drum Band

MANY PROGRAMS. ONE PURPOSE.

Orchestra University Chorale Wind Ensemble

Audition Dates Saturday, February 10 Saturday, March 3 Saturday, April 1 Friday, April 20 (video audition deadline)

Contact Us acu.edu/music 325-674-2199 160230-0816

music@acu.edu

PRESIDENT’S NOTES

B Y

A N D Y

S E A L Y

Last call

I

n these waning days of my service as TMEA President, I’d like to call attention to a couple of items. In each case, a huge kudos goes to the TMEA staff and my associates on the Executive Board for initiating and supporting projects that support our members and especially our music students in a most significant way.

In June, the Executive Board voted to approve and distribute $750,000 in funding for grants to benefit elementary music programs across the state. This grant program was offered exclusively to active TMEA members teaching elementary music and supported the purchase of sheet music, equipment, instruments, instructional software, and other educational materials. TMEA staff quickly processed the applications and 1,014 elementary programs around the state were served (we increased overall funding to $765,000 to support all qualified grant applications). In just weeks after the deadline, we were delighted to see many social media posts showing our state’s youngest musicians enjoying the opportunity to learn with new instruments and other supplies.

Following the devastation of Hurricane Harvey, TMEA led a consortium of fine arts education associations in relief efforts for our programs affected by the hurricane. The Hurricane Harvey Relief Program for Fine Arts in Texas Schools continues to be available at help.goarts.org, and program needs do still exist. This site was developed for programs that needed assistance in obtaining temporary or permanent replacement of instruments, equipment, instructional materials, or personal student supplies. TMEA promoted the site publicly and directly with our music industry partners. These efforts are ongoing, and TMEA joins with the many affected school districts in thanking those who were able to provide much needed support. TMEA has received feedback from those who registered to determine the website’s effectiveness and to learn how we can improve relief efforts like this in the future.

Volunteering for our association strengthens the connections between us, builds stronger bridges for collaboration, and galvanizes us to meet the challenges of the future.

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Southwestern Musician | February 2018

February 14–17—TMEA Clinic/Convention in San Antonio.

February 15, 5:15 p.m.—TMEA Division business meetings at the convention.

February 16, 5:15 p.m.—Attend your Region meeting at the convention.

March 1—Texas Music Scholar online application opens.

April/May—Attend your spring Region meeting.

April–June 1—Submit proposals online for the 2019 TMEA Clinic/Convention.

May—TMEA membership year opens for online and mail/fax submission.

May 1—Deadline to nominate students for a Texas Music Scholar award.

Serving on the TMEA Executive Board has expanded my view on everything from small school choir to the demands on our elementary music teachers. These changing perspectives helped me to be a better colleague and hopefully a better and more informed leader. None of this was possible without taking the first tenuous steps getting involved with TMEA events long ago as a Region Jazz Coordinator. I had absolutely no idea what I was doing, but mentors stepped forward and guided me through until I could handle operations myself.

Then, I looked for other opportunities to

serve throughout the years. This is one of the many ways we can repay our mentors for their investment in us as teachers and as people. And, it’s a crucial way to model the spirit of volunteerism and service to our music students. Volunteering for our association strengthens the connections between us, builds stronger bridges for collaboration, and galvanizes us to meet the challenges of the future.

While the original source of this quote is debated, it still offers a strong message to all educators: “The meaning of life is to find your gift. The purpose of life is to

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Southwestern Musician | February 2018

give it away.” We acknowledge that teaching music is a calling, but there’s more to be learned and more to be given. If you haven’t yet seriously considered offering your gifts, your time, and your talents to TMEA in a greater role, I hope you will.

Not only will you get back exponentially what you give through the relationships that you create, but you will also make significant and meaningful contributions for our members and for the students of Texas.

Get involved. Volunteer at the convention, organize a Region ensemble, or help with a Region workshop.

The 2018 TMEA Clinic/Convention will commence in only a few short days. I hope you are eagerly anticipating the opening of the convention and planning to take full advantage of the robust clinic and concert opportunities from all divisions. Our convention offers the best possible concentration of professional learning opportunities available to music educators. The annual event reinvigorates our passion for our craft and reminds us that our students are capable of inspiring artistry.

Please join us for the President’s Concert on Wednesday evening, February 14, for a live recording of NPR’s popular From the Top with host Christopher O’Riley. This live event will feature young Texas musicians and an amazing special performance from the classically trained duo Black Violin. If you purchased tickets in advance, they will be available at the Information Booth in the registration area on Wednesday from 1:00 to 7:00 p.m. and following that in the Lila Cockrell Theater lobby.

Thursday morning’s First General Session will feature a keynote address

by Black Violin founders Kev Marcus and Will B. They will share their musical journey, contemporary influences, and continuing youth advocacy and outreach efforts with us in a moderated discussion led by Joe Lamond, President and CEO of NAMM. Grammy-winning composer and conductor Eric Whitacre will deliver the Second General Session keynote on Friday morning and then lead a reading session of his music later that afternoon. Please make it a point to attend these cornerstone convention events!

Soon after the close of the 2018 TMEA Clinic/Convention my term as TMEA President expires. I have been both humbled and honored by this extraordinary opportunity for service and personal

OFFERING DEGREES IN: • Music Education • Music Performance • Commercial Music • Graduate Studies • Theory and Composition

SCHOLARSHIP AUDITIONS: February 5 and 10, 2018 Schedule your audition at music.utep.edu Center for Arts Entreprenuership Led by Grammy award-winning cellist Zuill Bailey, the Center for Arts Entrepreneurship will prepare UTEP music and other creative arts students for successful careers in the 21st century starting in fall 2017.

Dr. Lowell E. Graham Director of Orchestral Activities Dr. Lowell E. Graham is an active guest conductor and clinician, appearing recently with the Mexican Army Band Directors, the United States Air Force Band, and numerous honor bands across the U.S.

Dr. Bradley Genevro Director of Bands The UTEP Symphonic Winds under Dr. Bradley Genevro will perform at the Texas Music Educators Association Conference in Feb. 2018 and the American Bandmaster’s Association Conference in Spring 2019. This will be the first time a UTEP ensemble performs at this prestigious national conference.

Dr. Elisa Fraser Wilson

Director of Choral Activities Dr. Wilson’s elite ensemble, the UTEP Chamber Singers return to England in October 2017 for a second engagement as choir-in-residence at Leeds Cathedral.

Steve Wilson, D.M.A. | Chair, Department of Music

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growth. Thank you for your support, encouragement, and input in making this a joyous and fulfilling journey. Thanks also go to my local administration and fine arts friends and colleagues in Lewisville ISD for their steadfast patience.

TMEA is a tremendous force in music education and at the forefront of fine arts advocacy on so many levels. There is so much more to TMEA than just an awesome convention experience. The professional office staff and TMEA directors are amazing. Their dedication to our members and music students is a big part of what makes TMEA great. As you encounter these folks during the convention please offer your thanks as well. None of this happens without them.

Finally, special thanks go to the incredible members of the Executive Board who have broadened my perspectives and thoughtfully highlighted the challenges of your respective divisions. No doubt, there will be more challenges ahead, but the music students and teachers of Texas are in good hands. See you in San Antonio!

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Southwestern Musician | February 2018

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TMEA CLINIC/CONVENTION February 14–17, 2018 • San Antonio Henry B. Gonzalez Convention Center

www.tmea.org/convention

WHAT TO KNOW BEFORE YOU GO REGISTRATION HOURS Wednesday: Thursday: Friday: Saturday:

1:00 p.m.–9:00 p.m.

7:30 a.m.–5:00 p.m.

9:00 a.m.–8:00 p.m.

7:30 a.m.–12:00 p.m.

REGISTRATION FEES • • •

Active music educators: $80 Retired music educators: $20 College student member: $0

Payment Visa, MasterCard, Amex, Discover, personal or school check (checks will be run same day), and official, signed purchase orders for the correct amount are accepted. Split payments cannot include a credit card.

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.

(included in $25 membership)

• •

Out-of-state attendees: Badge replacements:

$130 $10 each

Badge Pickup Location Registration has moved! Enter from the North Lobby of the convention center through doors to Hall 1, near the main entrance that faces Market Street.

• PREPAID BADGE PICKUP: You can still register online. If your registration is paid, go to the Prepaid line (as you walk in the hall, to your left). Scan your registration barcode (emailed the week before) or look up your record by name. Your badge will print at the kiosk (new this year!).

Continue forward to pick up other materials and exit.

• ON-SITE REGISTRATION: If you haven’t registered when you get to the convention center, go to the On-site Registration line (in the back of the hall). Complete registration and payment to obtain your badge.

Technology Preconference To attend this one-day preconference of technology clinics, go directly to the second floor south to register outside CC 210.

This is a separate $50 registration (no POs). If paying by check, it must be made to TI:ME, not TMEA.

President’s Concert Tickets Tickets (prepaid and for purchase) are available Wednesday, 1–7 p.m, at the Information Booth in Convention Registration.

After that, go to the Lila Cockrell Theater Lobby. The concert is Wednesday at 8 p.m. and features NPR’s From the Top and Black Violin.

$10 Daily Parking + Free Shuttle Thursday–Saturday, park for $10 daily at the Alamodome Lots B–C. TMEA provides free shuttle service from Lot B. You can also use the walkway from the north side of the Alamodome under I-37 to the convention center.

Online Schedule & Convention App 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. To get the 2018 convention app, download Guidebook from your app store and search for TMEA 2018.

Southwestern Musician | February 2018

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EXECUTIVE DIRECTOR’S NOTES

B Y

R O B E R T

F L O Y D

One person can make a difference

I

recently met with Matt Matthews and Michelle Smith, our two lobbyists on retainer, and Dave Shaw, CEO of Arrow, the public relations firm the Executive Board has selected to guide our centennial celebration in 2020. The goal for our meeting was to take the next step crafting the support documents that will carry the message of music’s role in the future of our state’s public education.

In the first draft, the working theme of our centennial celebration is entitled “It Starts With Music.”

It Starts With Music Over the last hundred years, we’ve come a long way as a profession and as an association. Our purpose started with music. Our commitment as music educators enriches our students and prepares them for any path they choose in life, because music contributes to lifelong success. As we begin our next 100 years, there’s much more ahead on the journey for music educators, their students, and music education in Texas, but it all starts with music.

As previously shared, this centennial celebration will include our 2020 convention highlighting that momentous event, but more than that, it will celebrate the past, present, and future of music education in our state. A special emphasis will focus on the future and must resonate with many audiences, including members, students, parents, future educators, sponsors, partners, local and state policymakers, the business community, and the general public.

Developing and disseminating our message moving forward will be a critical component of the centennial preparation.

While the initial focus of our meeting was TMEA’s Centennial, our

Make a commitment to do your part to be involved in the election process. You can make a difference!

10 Southwestern Musician | February 2018

February 14–17—TMEA Clinic/Convention in San Antonio.

February 15, 5:15 p.m.—TMEA Division business meetings at the convention.

February 16, 5:15 p.m.—Attend your Region meeting at the convention.

March 1—Texas Music Scholar online application opens.

April/May—Attend your spring Region meeting.

April–June 1—Submit proposals online for the 2019 TMEA Clinic/Convention.

May—TMEA membership year opens for online and mail/fax submission.

2018 TMEA CD/DVD Order Form CD 53211-MCD 53212-MCD 53213-MCD 53214-MCD 53215-MCD 53216-MCD 53217-MCD 53218-MCD 53219-MCD 53220-MCD 53221-MCD 53222-MCD 53223-MCD 53224-MCD 53225-MCD 53226-MCD 53227-MCD

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Audio CD/DVD MP3 DVD Bundle ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ N/A ____ N/A ____ ____ ____

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Visit Booth #1631

All State Concerts

All-State Concert Pricing

TMEA All-State 5A Symphonic Band TMEA All-State 6A Concert Band Available in 10-12 Weeks CD/DVD TMEA All-State 6A Symphonic Band CD DVD BUNDLE TMEA All-State Jazz Ensemble I TMEA All-State Jazz Ensemble II Any Single All-State Concert $20.00 $35.00 $45.00 TMEA All-State String Orchestra TMEA All-State Philharmonic Orchestra Audio Downloads available at www.MarkCustom.com â&#x20AC;&#x201C; $17.00 per concert TMEA All-State Symphony Orchestra TMEA All-State Treble Choir TMEA All-State Tenor-Bass Choir TMEA All-State Mixed Choir TMEA All-State Small School Mixed Choir ATSSB/TMEA All-State Concert Band $20 ea. $_______ _____ TOTAL Amount All-State CDs ONLY @_______ ATSSB/TMEA All-State Symphonic Band Texas Two-Year College All-State Choir College _____ TOTAL Amount All-State DVDs ONLY @_______ $35 ea. $_______ TCCBDA All-State Symphonic Band _____ TOTAL Amount All-State CD/DVD Bundles @_______ $45 ea. $_______ TCCBDA All-State Jazz Ensemble

To Order All-State Concerts

_____ TOTAL Amount All-State MP3s ONLY

Honor Groups Band 53228-MCD 53229-MCD 53230-MCD 53231-MCD 53232-MCD 53233-MCD 53234-MCD 53235-MCD 53236-MCD 53237-MCD 53238-MCD 53239-MCD 53240-MCD

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53241-MCD 53243-MCD 53244-MCD 53245-MCD 53246-MCD 53247-MCD 53248-MCD

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53249-MCD 53250-MCD 53251-MCD 53252-MCD 53253-MCD 53254-MCD 53255-MCD 53256-MCD 53257-MCD 0&' 53259-MCD 53260-MCD 53261-MCD 53262-MCD 53263-MCD

____ ____ ____ ____ ____ ____ ____ ____ ____ BBBB ____ ____ ____

53264-MCD 0&' 53266-MCD 53267-MCD 53268-MCD 53269-MCD 53270-MCD 53271-MCD 53272-MCD 53273-MCD 53274-MCD

____ BBBB ____ ____ ____ ____ ____ ____ ____

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Honor Group Pricing

____ ____ ____ ____

Ereckson Middle School Symphony Orchestra Rice Middle School Chamber Orchestra Tompkins High School Sinfonia Orchestra Plano West Senior High School Symphony Orchestra FULL SET AVAILABLE ORCHESTRA CDs FULL SET AVAILABLE ORCHESTRA DVDs ____ FULL SET AVAILABLE ORCHESTRA BUNDLES

____ ____ ____ ____ ____ ____ ____ ____ ____ BBBB ____ ____ ____

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Robinson Middle School A Cappella Treble Choir Bryan High School Chorale Rice Middle School Tenor-Bass Choir Permian High School Kantorei North Richland Middle Varsity Treble Choir Cypress Falls High School A Cappella Choir Texas Christian University Concert Chorale Seven Lakes Junior High Varsity Treble Choir Montgomery High School Chorale Women 0DQVÃ&#x20AC;HOG +LJK 6FKRRO 9DUVLW\ 0HQ·V &KRLU Colleyville Heritage High School Panther Chorale Texas State Chorale FULL SET AVAILABLE CHOIR CDs FULL SET AVAILABLE CHOIR DVDs ____ FULL SET AVAILABLE CHOIR BUNDLES

____ BBBB ____ ____ ____ ____ N/A ____ N/A ____ ____

____ BBBB ____ ____ ____ ____ N/A ____ N/A ____

Roosevelt Alexander Elementary SingRAE Choir *DUODQG ,6' )LIWK *UDGH &KLOGUHQ·V &KRLU Benignus Elementary Choir Carrollton-Farmers Branch Elementary District Choir Passmore Percussion Noteworthy Orff Ensemble Mojo-Rimba The Big Bang FULL SET AVAILABLE ELEMENTARY CDs FULL SET AVAILABLE ELEMENTARY DVDs ____ FULL SET AVAILABLE ELEMENTARY BUNDLES

Shipping Information:

Exp. Date

Any Single 3-5 Items 6-9 Items 10+ Items

$4.00 $6.00 $8.00 $9.00

/

Visa / Mastercard / Discover / American Express (Circle One)

Signature Daytime Phone # Email

Required for MP3 - School Purchase Orders Accepted -

TOTAL ORDER

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All-State TOTAL (from Above) _____ TOTAL Amount Honor CDs ONLY @_______ ea. _____ TOTAL Amount Honor DVDs ONLY @_______ ea. _____ TOTAL Amount Honor CD/DVD Bundles @_______ ea. _____ TOTAL Amount Honor MP3s ONLY @_______ ea.

Please Add Shipping (if after 2-26-18) Please Add 8.25% Sales Tax TOTAL Amount Enclosed

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Address State

Zip __________

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MAKE CHECKS PAYABLE/SEND ORDERS TO:

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Choir ____ ____ ____ ____ ____ ____ ____ ____ ____ BBBB ____ ____

$_______

Texas State University Jazz Ensemble UTEP Wind Symphony Texas A&M - Commerce Wind Ensemble Available in 10-12 Weeks CD/DVD Stephen F. Austin State University Wind Ensemble CD DVD BUNDLE The University of Texas Wind Ensemble Honor Concert(s) $20.00ea. $35.00ea. $45.00ea.

Rockwall High School Jazz Ensemble All Available Band Concerts-19 175.00set 250.00set 350.00set Killian Middle School Honors Band All Available Orchestra Concerts-8 90.00set 175.00set 250.00set Artie Henry Middle School Honors Band Jourdanton High School Wind Symphony All Available Choir Concerts-17 160.00set 225.00set 325.00set Waxahachie High School Wind Ensemble All Available Honor Elementary Concerts-8 90.00set 175.00set 250.00set FULL SET AVAILABLE BAND CDs FULL SET AVAILABLE BAND DVDs Audio Downloads available at www.MarkCustom.com â&#x20AC;&#x201C; $17.00 per concert ____ FULL SET AVAILABLE BAND BUNDLES *All Honor Groups Permission Pending

Orchestra ____ ____ ____ ____

@_______ $17 ea. $_______

TOTAL All-State Concert (Enter Number Below)

P.O. Box 406 â&#x20AC;¢ Clarence, NY 14031 phone: (716) 759-2600 â&#x20AC;¢ fax: (716) 759-2329 info@markcustom.com Booth # 1631 Order Online at : www.MarkCustom.com

If music is your passion, TCU is your school.

TCU Concert Chorale performs at TMEA on Thursday, February 15 at 8pm

SCHOLARSHIP OPPORTUNITIES AVAILABLE FOR YOU At TCU, you can receive both music and academic scholarships that make attendance more affordable.

NORDAN SCHOLARSHIP The NORDAN Scholarship* is an exclusive award, open to entering freshmen vocalists, instrumentalists, and composers of superior talent, who have chosen to major in music. NORDAN winners receive a four-year, FULL TUITION AWARD. NORDAN Live Auditions are held in January each year by special invitation. More information is available at www.music.tcu.edu.

AUDITION DATES FOR SPRING 2018 January 27, 2018, February 10, 2018, and February 24, 2018 GRADUATE PROGRAMS AVAILABLE FOR YOU TCU offers Master of Music and Doctor of Musical Arts degrees in multiple disciplines.

Graduate Assistantships are available.

For more information on undergraduate and graduate admission requirements and application deadlines, please visit our website or call the School of Music at 817-257-7232.

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www.music.tcu.edu

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SCHOOL OF MUSIC

discussion that day quickly transitioned to the critical nature of the next state election cycle, beginning with the March primaries. There was consensus that at no time in recent years have election outcomes had the potential to shape public education, including fine arts, as an educational priority as this upcoming cycle does.

If you haven’t read Matt Matthew’s article in the October Southwestern Musician entitled “Politics, Advocacy, and Arts Education,” I encourage you to do so. He states that if we do not push, advocate, and defend arts education, other interests and pressures can push us aside.

He further states that our efforts are most effective when this nuanced argument is made by you, in person, community by community, with one legislator or candidate at a time.

By the time you read this column, the primaries will be only a few weeks away. Texans for Public Education, Texas Educators Vote, and Teach the Vote (ATPE-sponsored) are examples of websites that have launched all-out efforts to get those supportive of public education involved in the election process, beginning in earnest with the March primaries.

These websites are not tied to any particular political party, nor do they endorse candidates, but they are united in electing candidates who are supportive of public education and are willing to recruit others who share that vision and commitment.

You may want to also explore sites such as the Secretary of State and Texas Tribune to identify candidates in your legislative district.

Now is the time to place a call, attend a candidate forum, coffee, or town hall meeting, and with your time and resources support candidates who have clearly taken a stand on the importance of music and arts education as a part of a well-rounded education. As Matthews says, “This is the time when candidates need our support the most.” We cannot let this critical time slip away without actively engaging in communicating with our legislators.

After the March primary, party candidates will be on the campaign trail for several months, preparing for the November election. This is an ideal time to invite them to a spring or end-of-year concert and to reach out to their office and ask a few questions relative to arts education for Texas schoolchildren. In September the

Texas Coalition for Quality Arts Education will survey every candidate running for the Texas House of Representatives, Senate, or State Board of Education and ask for a response on several arts education related questions. That information will be shared on GoArts.org and published in Southwestern Musician. If they have already been contacted by district constituents like you, there will be even more incentive for them to return the survey.

Meanwhile, throughout the spring, efforts will continue in earnest to develop the messages mentioned above about why music and fine arts are important to Texas schoolchildren. As that message evolves you will be asked for your input, guidance, and willingness to share with appropriate parties. We must take advantage of this opportunity to educate so many about the role of our discipline in a child’s overall education. It is the opportunity of a lifetime! Again, Matthews states, “One person does not have to do everything, but everyone has to do something.” Make a commitment to do your part to be involved in the election process. You can make a difference!

DEGREE PROGRAMS Bachelor of Music Teacher Certification: Instrumental and Vocal Performance: Instrumental, Vocal, and Keyboard Bachelor of Arts in Music Music Minor Full Consideration Auditions February 3, 2018 March 3, 2018 March 24, 2018

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Southwestern Musician | February 2018 13

tmea distinguished a dm inistr ator spotlight The TMEA Distinguished Administrator Award program recognizes school administrators whose support has been critical to the music program successes in schools across our state. TMEA has recognized over 200 deserving administrators through this program. When TMEA honors an administrator with this designation, the nominating TMEA member is sent a certificate to present their administrator.

To nominate your administrator, go to www.tmea.org/adminaward.

Nancy Dillard, Principal Rayburn ES, McAllen ISD Nominated by Sylvia Arguelles Ms. Dillard has always been an advocate for the arts in elementary education, whether in art, drama, or music. Most recently she invested STEAM budget moneys in a music keyboard lab and curriculum resources for our music department. She went above and beyond to get the resources and the training required for classroom implementation of Music and the Brain curriculum.

Kindergarten through fifth graders are learning songs that teach singing and rhythm, reading notation, and playing music on the keyboard! There is a renewed enthusiasm and interest for music class by parents and students alike. I am so thankful for Ms. Dillard’s commitment to student learning and growth, which exemplifies a well-rounded education.

Anthony Watkins, Principal Carver HS, Aldine ISD Nominated by Kenyatta Herring Mr. Watkins is serving in his third year as our principal. From the moment he started, he has been supportive of our performing arts program. He has taken the time to make sure our schedule for the year is correct and that the counselors have placed students in the correct levels. He rarely misses a concert or performance, and if he cannot attend, he sends a representative. He also has been at every UIL concert and sightreading evaluation for each choir. I have never before had the kind of support Mr. Watkins gives. He is invested in the students and cares about their success.

Mary Alice Gomez, Principal Heritage MS, East Central ISD Nominated by Joseph McKelvey and Donald Lacy During Ms. Gomez’s time at Heritage MS, the music program has absolutely flourished. Every year has seen improvement over the previous in a number of ways, and she has been vital to any success we may have achieved.

She goes above and beyond to be sure we have needed resources, including increasing our budget to purchase new instruments to 14 Southwestern Musician | February 2018

meet the demand of our program that has doubled in size. She was instrumental in securing a new band director position to meet the demand of our program.

Ms. Gomez attends every band and choir concert. She assists directors by greeting audience members as they enter, passing out programs, and praising our students as they walk off the stage after they perform. She even recognizes students who performed the next day during the announcements.

Ms. Gomez takes time to travel to UIL contest sites to hear all our bands and choirs perform on the stage and in the sightreading room. Before the groups enter the room, she even informs the parents about the sightreading room rules. After the group’s sightreading performance, she praises the students for the wonderful job they did. One judge was so moved by her dedication, support, and praise of students that he told all the other judges about her at a contest I judged later that spring.

Ron Myers, Principal Byron Nelson HS, Northwest ISD Nominated by John Sikon Dr. Myers openly recognizes the importance of quality fine arts education for all students. Each administrator on our campus has departments they evaluate for T-TESS. Dr. Myers chooses Fine Arts as his T-TESS group each year because, as he says, we “get it.”

He constantly asks us about feedback, student engagement, and goal-setting. At his request, our campus music teachers are currently discussing what works in our classes that other classroom teachers could use in their settings. So often, music teachers are asked to justify our subjects by how we help students in core classes. Dr. Myers has asked the opposite, “What can other teachers do in their classes that music teachers are doing to be more successful?”

He also shows financial support in staffing our music programs.

All music programs at Byron Nelson have at least two directors.

Another way he supports us is by giving us funds to travel to the TMEA convention and various summer conventions. He has openly stated that campus funds for professional development are for all teachers, not just for teachers of English, math, social studies, and science.

The most significant way Dr. Myers shows his support is by

2018 SUMMER MUSIC CAMPS In the Heart of Nashville

MUSIC THERAPY CAMP

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June 4–8 for Students with Special Needs, Ages 7–12

June 10–15 for Grades 9–12

Music, Movement, Dancing, Songwriting, Singing, Arts and Crafts and Much More.

Study Classical or Jazz Piano.

Classes in Music Theory, Sight-Reading, Technique and Improvisation.

SUMMER WINDS BAND CAMP June 10–16 for Grades 9–12 For Woodwinds, Brass and Percussion.

Ensemble Opportunities Include Wind Ensemble, Jazz Ensemble and Chamber Music.

SUMMER VOCAL ARTS INTENSIVE June 24–30 for Grades 9–12 Solo, Ensemble and Choral Singing Experiences. Masterclasses in Classical, Jazz, Musical Theater and Contemporary Styles. Elective Classes in Conducting, Chart Writing, Artist Development, Movement and More.

STRING CROSSINGS CAMP June 17–22 for Grades 9–12 For Violin, Viola, Cello, Double Bass and Harp.

Classes in Classical, Bluegrass, Jazz and Rock styles.

Receive String Orchestra, Chamber Ensemble and recording experience.

BELMONT ACADEMY PREPARATORY PIANO CAMP June 11-15 for Grades 6–12 Attend Classes in Performance, Music Theory, and Group Instruction. Attend Recitals, Concerts and Masterclasses.

For more information, costs and registration visit BELMONT.EDU/MUSIC

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Del Mar College Department of Music 2018 Summer Music Camps Summer Orchestra Program June 7, 14, 21, 28-29, 2018 Contact Todd Ehle tehle@delmar.edu

Viking Band Camp June 11 - 15, 2018 Contact Dr. Abel Saldivar Ramirez aramirez136@delmar.edu

All-State Choir Camp June 21 - 25, 2018 Contact Dr. Gregory Graf ggraf@delmar.edu

DelMar.edu A wide variety of scholarships are available.

Contact Todd Ehle at tehle@delmar.edu for more information.

Department of Music • Del Mar College • 101 Baldwin Blvd. • Corpus Christi, TX 78404 • (361) 698-1211

being present at almost every campus fine arts event, even in December and May when our performing arts calendar has events almost nightly. Not only does he come to every concert, but he also remains after to speak with students and parents and offer words of encouragement to directors. Aside from being a spectator at concerts, Dr. Myers has also been a participant. He arrives early before our annual musical to warm up with the cast. He has conducted the orchestra in their holiday concert and has played piano in the choir pops concert.

Victor White, Superintendent Deer Park ISD Nominated by Barry Talley In his second year as DPISD Superintendent, Victor White has long been a strong supporter of our fine arts programs. He served as a campus principal at Deer Park JH for many years before moving to the administration building as an Assistant Superintendent of Instruction. Mr. White has always been supportive both in spirit and with his attendance. You will find him at the majority of concerts throughout the year. He makes a point to speak with the directors after the concert, shake their hands, and congratulate them on their success. He has always been supportive of staffing needs and concerns in our district even when his approval might mean having to defend his actions. If the need is genuine and valid, he will be there to offer his support. In 2017, 90% of our staff attended the TMEA Clinic/Convention with financial assistance (some with full expenses paid). This truly signifies the high level of

support Mr. White and DPISD have for music teachers.

Jared Nettles, Principal Livingston JH, Livingston ISD Nominated by Daniel Williams In the past five years, Jared Nettles has worked his way from teacher, to assistant principal, and now to head principal at Livingston JH. While working in each position, he has supported our band program by attending concerts, helping out at performances, recognizing our successes, and mentoring each band director who comes through our program. Though he is not a musician, he deeply appreciates and supports the fine arts.

Each year, we have more sixth graders in band than the year before—this year 200 signed up. The moment we heard about the number enrolled, we knew we wouldn’t have enough inventory to support such growth. Most of our kids (70%) come from low socioeconomic households and must borrow their instrument from the school. We weren’t going to be able to provide for our students.

When we brought the issue to Mr. Nettles, he began thinking of great ideas we could try to alleviate our growing pains. We applied for grants, reached out to our community for used horns, and more.

Ultimately, we decided to ask the school board for capital funds to buy new instruments, and Mr. Nettles guided us through the process of creating a presentation, meetings with the superintendent, presenting to our local Lions Club, and raising awareness about our situation. In late July, the Livingston ISD School Board

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Southwestern Musician | February 2018 17

approved the purchase of 77 new instruments for $113,350!

Without his guidance and support, our program would not continue to thrive. Mr. Nettles is the reason some kids will have an opportunity to experience something life-changing.

Andrew Kim, Superintendent Comal ISD Nominated by Richard Helsley Mr. Andrew Kim started with Comal ISD as Superintendent six years ago. From day one his focus was academic success, with the recognition that fine arts is key to that success. He came from a background in starting programs and had the dream from the beginning to create an orchestra program for Comal ISD. He had the vision to start from an afterschool program for elementary, develop it in the middle school, and continue to high school. This is the first year for Mr. Kim’s vision to reach the district’s high schools.

Mr. Kim takes the opportunity to showcase the district’s fine arts programs through district and community events whenever possible. He takes a personal interest in each program and attends rehearsals and performances. He takes the time to personally interact with students and teachers involved in those programs.

Each year at the Comal ISD convocation, Mr. Kim features multiple performing arts programs, demonstrating his interest and love for the arts. He believes that strong fine arts programs are some of the most useful tools a district can utilize to promote high achieving schools.

Kim Kimberling, Principal Ann Brock ES, Burleson ISD Nominated by Sandra Tucker Since the school opened in 2008, Kim Kimberling has served as our Vice-Principal and now Principal. She has been especially supportive of our music program since year one and has always done her best to support our music endeavors. We have over 700 students at our Title I campus, and Ms. Kimberling strives to provide support and love for each student and family. She understands that some of the opportunities we provide for our students would never happen otherwise.

Last year she helped our program by hiring a second music teacher. This year, her most recent measure of support includes using activity fund money to finance a group lesson program I started a few years ago. She committed to funding additional instructors on Monday afternoons so that every third through fifth grader could choose either fiddle, guitar, or keyboard as their focus instrument for groups lessons. Administrators like Ms. Kimberling allow teachers to grow as educators while striving for the best for their students.

Nominate your outstanding administrator for a TMEA Distinguished Administrator Award.

www.tmea.org/adminaward

2018 SUMMER

MUSIC CAMP SERIES TEXAS SUMMER FLUTE SYMPOSIUM Sunday June 10th - Friday June 15th

LEADERSHIP, DRUM MAJOR, AND COLORGUARD CAMP Sunday June 17th - Thursday June 21st

ALL STATE CHOIR CAMP Wednesday July 11th - Saturday July 14th

PERFORMANCE.PRIDE.PASSION TAMUC.EDU/MUSIC | 903.886.5303

18 Southwestern Musician | February 2018

— Th urs day , February 15 — Is UIL Enough? Documenting Student Musical Growth Dr. Keith Dye - 10:00am, 302 AB

Clarinet Fundamentals Tool Kit - Fix Your Clarinet Section Dr. David Shea, TTU Clarinet Choir - 11:30am, Stars at Night I

Proactive & Healthy Approaches to Choral Vocal Technique Dr. Alan Zabriskie - 1:00pm, GH Lone Star ABC

Music Showcase: TTU Clarinet Choir directed by Dr. David Shea - 2:00pm, CC West Reg.

College Student to Music Educator: The Transition Begins Now! Dr. Keith Dye, Rodney Klett, & Jerry Babbitt

College Research Poster Session Multiple faculty & students - 3:45pm, Stars at Night Lobby

2:30pm, 302 AB

Beginning Brass Instruction: New Ideas & Fresh Approaaches Dr. Keith Dye - 6:30pm, CC 205 — Friday , February 16 — 45 Minutes of Four-year-olds? Help!

Jenny Dees - 11:30am, CC Hemisphere Ballroom 3

Improve Bands, Choirs, Orchestras Through Technology Dr. Keith Dye - 1:00pm, CC 212

Music Showcase: Mariachi Los Matadores directed by Dr. Lauryn Salazar - 2:00pm, Bridge Hall

The Fabulous Front-Row: Optimizing Your Flute Section Dr. Lisa Garner Santa & Dr. Eric Allen - 2:30pm, CC 225

Unlocking the Teaching & Recruiting Power of Social Media Dr. Andrew Stetson - 2:30pm, CC 303

Music Showcase: Texas Tech Double Reeds directed by Richard Meek - 3:30pm, CC West Reg.

— Saturday , February 17 — Why Would YOU Hire YOU? Preparing for a Successful Interview Dr. Blair Williams - 9:30am, CC 303

Is Grad School for You? Reflective Skills Form Community Dr. Janice Killian, Dr. Keith Dye, Patrick Antinone, & Branco Sekalegga - 11:00am, 302 AB

Music Showcase: Too Many Basses Bass Ensemble directed by Dr. Mark Morton - 12:00pm, CC West Reg

How a Tuba-Euphonium Ensemble Can Benefit Your Program TTU & Lake Travis HS Tuba-Euphonium Ensembles Dr. Kevin Wass & David Hummel - 12:30pm, CC 214 CD

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.

SCHOOL OF MUSIC DEPARTMENT HEADS

Chad Ibison

Douglas R. Boyer

Elizabeth Lee

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

Asst. Professor, Cello

Beth Bronk

Deborah Mayes

Director of Bands bbronk@tlu.edu

Shaaron Conoly Director of Vocal Studies sconoly@tlu.edu

SCHOLARSHIP AUDITION DATES: Sunday, February 11, 2018 | 1:00 to 3:00 p.m.

Saturday, March 3, 2018 | 1:00 to 3:00 p.m.

Saturday, April 21, 2018 | 1:00 to 3:00 p.m.

Sunday, May 20, 2018 | 1:00 to 3:00 p.m.

Director of Piano Studies edaub@tlu.edu Director of Strings ejeffords@tlu.edu

Wei Chen Bruce Lin Asst. Professor, Piano Accompanist

Scott McDonald Instructor, Saxophone & Jazz Band Asst. Professor, Collaborative Pianist Instructor, Double Bass

Keith Robinson Instructor, Tuba & Music Education

FACULTY Mark Ackerman Instructor, Oboe

Jill Rodriguez Instructor, General Music

Robert Mark Rogers

Adam Bedell Mary Ellen Cavitt Asst. Professor, Horn Instructor, Music Education

Joseph Cooper Asst. Professor, Trumpet

Paula Corley Instructor, Clarinet

Jeanne Gnecco Instructor, Flute

Asst. Professor, Piano

David Milburn

Eliza Jeffords

Carol Chambers

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

Patricia Lee

Carla McElhaney

Eric Daub

Instructor, Percussion

Individual audition dates may be requested if necessary.

Asst. Professor, Guitar

Asst. Professor, Bassoon

Esther M. Sanders Instructor, Violin

Evan Sankey Asst. Professor, Trombone & Euphonium

Eric Siu Asst. Professor, Violin

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

www.tlu.edu/music

B Y

J O E

BAND NOTES

M U Ñ O Z

In Memoriam John Robert Robinson, Jr. September 15, 1939–December 30, 2017

New Year resolve

A

February 1—Honor Band system opens for entries.

February 14–17—TMEA Clinic/Convention in San Antonio.

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

February 16, 5:15 p.m.—Attend your Region meeting at the convention.

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

April/May—Attend your spring Region meeting.

April–June 1—Submit proposals online for the 2019 TMEA Clinic/Convention.

May—TMEA membership year opens for online and mail/fax submission.

May 1—Deadline to nominate students for a Texas Music Scholar award.

s I write my final article as Band Division VicePresident, I am still in awe of this incredible association and each of the members of the Band Division.

As we will soon travel to San Antonio for the TMEA Clinic/Convention, know that this event has taken countless hours of preparation by the Executive Board, the TMEA staff, and a host of volunteers. All of this tireless work is done to provide each member with the best musical and pedagogical experience possible. I hope you will not only attend the convention but also take time to thank those people who have worked for a year to make this gathering better that any of our previous.

As I’ve written in the past about our incredible TMEA staff, they all have multiple talents they share with each of us. I hope you can find them during the convention and thank them personally. Be forewarned, they will brush off the thanks and say it is their pleasure, but they will be very appreciative of you taking the time to share your thoughts.

I would like to thank, in advance, the many members who have volunteered to make this convention a positive experience for the students, members, and family who will attend. I would also like to thank our Region and Area Chairs who have worked for the past two years administering our activities. Their hard work and valuable feedback have been an inspiration to me during my service. As you witness everything going on during the convention, I hope you will think about how you could get more involved. It’s easy! In July or August go to www.tmea.org/volunteer to submit your information. You can also talk with your Region Band Chair to see how you can help at the Region level. When you volunteer, you gain a new perspective of how everything works, and this

It is the responsibility of each experienced member to cultivate an atmosphere that encourages collaboration from members of all experience levels.

Southwestern Musician | February 2018 21

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can lead to your making valuable suggestions that can provide a better experience for future attendees.

Volunteers who have seen how things work from this new perspective often go on to become the future leaders in our association. It is also the responsibility of each experienced member to cultivate an atmosphere that encourages collaboration from members of all experience levels.

Through this inclusion and collaboration, we cultivate the environment for new leaders to have a voice. Leadership at the Region or State level requires one essential ingredientâ&#x20AC;&#x201D;involvement. One of my greatest experiences (of many) as an Executive Board member is seeing how music educators around our state bring their passion to their students and cohorts. Iâ&#x20AC;&#x2122;ve also been able to garner a better understanding of how diverse our Band Division is and how this makes us stronger.

As you become involved in the immense excitement of our annual clinic/convention, I hope you will take time to look around and appreciate the energy inherent in music education. I also hope that it will give you the motivation and skills to return to making a difference in your

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classroom or rehearsal hall every day. As Lee Ann Womack sings, “And when you get the choice to sit it out or dance, I hope you dance.” I hope you’ll find a way to get involved!

TMEA Clinic/Convention Updates The annual Band Division Business Meeting is Thursday, February 15, at 5:15 p.m. in the Stars at Night Ballroom on the third floor of the convention center.

This meeting is vital to the continued success of the Band Division. We will have a keynote address by our TMEA Band Division Featured Clinician, Anthony Maiello. Also at this meeting, Brad Kent, Director of UIL Music Activities, will provide some time-sensitive UIL updates and release PML substitution request decisions.

For the fist time, the TMEA Band Division invited middle school jazz ensembles to submit recordings and apply to perform in a music showcase during our convention. Read about our first invited middle school jazz ensemble and be sure to look for their performance in the convention program and add it to your personal schedule.

Fowler MS Jazz Ensemble Fowler MS Jazz Ensemble Matthew Hedrick, Director The Fowler Middle School Jazz Ensemble (Frisco ISD) consists of secondand third-year musicians who rehearse twice weekly before and after school.

Students learn the fundamentals of jazz style, explore the history and evolution of the jazz genre, develop a vocabulary for

beginning improvisation, and listen to jazz masters. There are two ability-based jazz ensembles and a beginning jazz band.

The jazz ensembles perform two concerts annually, in addition to performing at pep rallies, faculty meetings, local engagements, and jazz festivals, where they consistently earn top marks. In 2010, under the direction of David Dunham, the

ULM Music Undergraduate and Graduate Programs BACHELOR OF MUSIC Concentration in Vocal Music Education (K-12) for those desiring to teach vocal music in the schools

School of Visual & Performing Arts Department of Music

BACHELOR OF MUSIC Concentration in Instrumental Music Education (K-12) for those desiring to teach instrumental music in the schools BACHELOR OF MUSIC Concentration in Piano Pedagogy for those desiring to teach private piano BACHELOR OF MUSIC Concentration in Instrumental Performance for talented performers wishing for a career as a performer or, after graduate studies, as an artist/teacher in a college or university BACHELOR OF MUSIC Concentration in Vocal Performance for talented performers wishing for a career as a performer or, after graduate studies, as an artist/teacher in a college or university. Concentration is available with an emphasis in Musical Theater or Opera.

BACHELOR OF MUSIC Concentration in Theory/Composition for those wishing to create and arrange music for various performing media MASTER OF EDUCATION IN CURRICULUM AND INSTRUCTION Specialization in Secondary Education with a content teaching area in music

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Fowler Middle School Jazz Ensemble was awarded the inaugural Mark of Excellence National Jazz Honors Award given by the Foundation for Music Education. In 2017, under the direction of Matthew Hedrick, the ensemble was selected to be the inaugural Invited Middle School Jazz Ensemble to perform a music showcase at the 2018 TMEA Clinic/Convention.

Get the TMEA 2018 Guide The 2018 app will be available at the beginning of February. To get the 2018 convention app, download Guidebook from your app store. Within Guidebook, search for TMEA 2018 to download it to your device. If you opted in to have your TMEA online personal schedule transferred, you will need to sign in using that same email address that you identified for your personal schedule transfer. You can create and edit your personal schedule, find locations of any event, look up exhibitors, and interact with other attendees.

A New Location for Badge Pickup TMEA convention registration (for attendees, exhibitors, visitors, and the information booth) has moved to Hall 1 of the Henry B. Gonzalez Convention Center.

This hall is in the northeast corner of the convention center, most quickly accessed from the front doors of the North Lobby that faces Market Street (just east of the Grand Hyatt). For hours and a map of this location, go to www.tmea.org/2018hours.

If you prepaid, you will scan your preregistration code and your badge and receipt will print directly at that kiosk (new!). The week before the convention, you will receive an email with that code, and if you canâ&#x20AC;&#x2122;t find it, you can look up your record by name. If you havenâ&#x20AC;&#x2122;t paid, you can pay on-site to receive your badge.

Look for the On-Site Registration area in this hall. You can still register online at www.tmea.org/register (same fee as on-site).

Wednesday Technology Preconference If you are attending this preconference, go directly to the second floor (south) of the convention center to the lobby outside of CC 210 to get your separate badge for this one-day event. You can register on-site ($50, no purchase orders accepted). You can find a list of these events in the convention schedule.

Honor Band The Honor Band entry system will be open for entries on February 1, 2018, and the entry deadline is March 1, 2018. This yearâ&#x20AC;&#x2122;s Honor Band process will select 1C, 1A/2A, 4A, and 6A Honor Bands to perform at the 2019 TMEA Clinic/ Convention. More information regarding dates, sites, judges, and chairs will be posted later at www.tmea.org.

Texas Music Scholar Award The Texas Music Scholar Award designates students in high school music

programs who exemplify attributes of meritorious performance in the areas of scholarship, musicianship, and citizenship. The Texas Music Scholar Award entry system will open on March 1, and you can submit students until May 1. You can find the qualification criteria and access the student submission system at www.tmea.org/musicscholar. Texas Music Scholars receive a certificate, patch and letter from the Texas Music Educators Association signed by the Executive Director.

What A Cajon Aspires To Be...

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Southwestern Musician | February 2018 27

THE 43RD ANNUAL INTERNATIONAL TRUMPET GUILD CONFERENCE THE E THE THE HYATT REGENCY REGE ENCY • SAN ANTONIO • MAY 29 THROUGH JUNE 2, 2018 8

I T G C O N F E R E N C E .OO R G ITGCONFERENCE.ORG

Register Online at itgconference.org Registration discount of $40 if registered by January 31, 2018. Registration discount of $35 if registered by February 28, 2018

UNT College of Music Summer Workshops 2018 15th Annual Pirastro Strings Elite Soloists Program

18th Annual Beginners and Intermediate Bass Camps

18th Annual Lynn Seaton Jazz Double Bass Workshop

Drum Major and Student Leadership Camp

June 1 – 8 Jeff Bradetich, Director

June 18 – 22 Lynn Seaton, Director

String Orchestra Day Camp June 11 – 15 Elizabeth Chappell, Director

UNT Keyboard Percussion Symposium June 11 – 15 Christopher Deane and Brian Zator, Directors

UNT Marching Percussion Camp June 11 – 14 Paul Rennick, Director

31st Annual Bradetich Master Classes June 18 – 22 Jeff Bradetich, Director

June 20 – 22 Gudrun Raschen, Director

June 21 – 24 Nicholas Williams, Director

ClarEssentials High School Clarinet Workshop June 26 – 30 Kimberly Cole Luevano, Director

All–State Choir Camp June 27 – 30 Jessica Nápoles, Director

Alexander Technique June 30 Phyllis Richmond, Director

Jazz Combo Workshop July 9 – 13 Michael Steinel, Director

Vocal Jazz Educator Seminar

Middle School/Junior High Honor Choir Camp

Vocal Pedagogy Workshop

UNT Summer String Institute (2 sessions)

Flute! Repertoire and Performance

Mariachi Summer Camp

Vocal Jazz Workshop

Summer Harp Masterclass

June 23 – 24 Jennifer Barnes, Director

June 15 – 16 Stephen F. Austin, Director

June 15 – 17 Mary Karen Clardy, Director

June 25 – 29 Jennifer Barnes, Director

July 11 – 14 Jessica Nápoles, Director

July 15 – 29 Felix Olschofka and Daphne Gerling, Directors

July 24 – 28 Donna Emmanuel, Director

August 4 Jaymee Haefner, Director

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

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

Auditions are required of all entering and transferring music majors.

F R I D AY

S A T U R D AY

February 23, 2018

February 24, 2018

(VOICE ONLY)

(BRASS, KEYBOARD, PERCUSSION, STRINGS, VOICE, WOODWINDS)

B AY L O R S C H O O L O F M U S I C

B AY L O R P R E S E N TAT I O N S / P E R F O R M A N C E S AT T M E A 2 018 Friday, February 16 CHARLOTTE DANIEL 1:00-2:00 pm, CC 221 (with Timothy Hagen, University of Wisconsin-Madison, and Julee Kim Walker, Texas A&M University-Commerce) “Tone Up Your Flutes: A Physiological Approach”

MICHAEL ALEXANDER 3:45-5:15 pm, Stars at Night Ballroom Foyer College Division Research Poster Session: “Procedures and Consequences in Assessing String Sight-Reading Performance”

B AY L O R A L U M N I R E C E P T I O N

Friday, February 16, 9:30 pm Rio Grande Ballroom of the Hyatt-Regency

FOR MORE INFORMATION: Baylor University School of Music One Bear Place #97408 • Waco, TX 76798-7408 baylor.edu/music and click on “For Prospective Students” 254.710.7681 • Music_Admit@baylor.edu

Have a Caviar Program ON A TUNA FISH BUDGET

by Leigh Ann McClain

W

hile instrumental music education can benefit all students, it can also be cost-prohibitive. Every year, some students choose not to begin the process because of the financial obligation, and in doing so miss out on an incredible journey. How can we create programs that can serve all economic levels and give students experiences equal to programs without economic struggles?

After teaching in Oklahoma for 15 years on a very small budget, I began working at Griffin MS (Lewisville ISD) in 2006. It was a Title I school with 29% of the student body recorded as lower socioeconomic. This past school year, that percentage increased to 47%. Even though the percentage of lower socioeconomic students has increased in the past 12 years, the program continues to thrive in enrollment, and we are able to offer the same experiences and services to the students. The first rule is always to focus on what you have rather than what you are missing.

Communication Is Key Families with limited budgets sometimes hesitate to get involved in programs that include financial obligations. Positive word of mouth is important, and it must be backed up by action.

In the Griffin MS Band program, we offer many ways that students from lower socioeconomic situations can fully participate. At the beginning of the school year, we meet with all beginner-level students and their parents and then with all advanced-level students and parents. We explain all the financial obligations, discuss available options, and make the staff accessible for questions.

On our band calendar (print and online), we highlight all required activities in bold. These required events do not include an additional cost. This helps families see how a student can participate without extra financial obligations. Second, we have a payment plan in place for families to budget for upcoming events if they choose to participate in those with additional fees. For families needing more assistance, we offer help through the Griffin Guardian and Band Bucks programs (explained later in the article). The motto of the Griffin Band has always been that â&#x20AC;&#x153;all students should have the opportunity to learn to play an instrument

and participate in the band program regardless of family income.â&#x20AC;?

Instruments and Resources Be vigilant in looking for good deals, and advertise your need for school instruments. We market in newspaper articles, social media, and word of mouth. Over the years, we have had multiple instruments in good condition donated to our program from community members.

When our program doubled in size, so did the need for schoolowned instruments. I began looking for instruments on eBay and other sites. We were able to purchase several decent school instruments for $75 (or less) each. Rather than purchase or rent instruments, families can pay a fee to use school instruments.

While we work to support those families in need, it is still important for students and families to pay something. This promotes an investment in the program that ultimately results in personal pride, respect, and program pride and loyalty. Our school district offers reduced school instrument fees for those on the free or reduced lunch program. We offer a 50% discount for those on reduced lunch to 75% for those on free lunch.

Every year, we take time to clean the instruments. We bathe the brass, oil valves, grease slides, grease woodwind corks, and clean all mouthpieces. This ensures they are ready for the next checkout, and it teaches students how to care for the instruments. The added care also helps with the longevity of the instrument.

Helping Families Save I joke often about being the Penn State of the band world in that our band T-shirts and uniforms do not change. We have had the exact T-shirt and band polo for 12 years, and we will keep it that way as long as we can.

By not having a new shirt each year, families can purchase only one band T-shirt and one band polo for their childâ&#x20AC;&#x2122;s middle school years. This also allows graduating members of our program to donate their uniforms back to the band program for students who might not be able to purchase their own. We also encourage siblings to use family band T-shirts and polos. While it might Southwestern Musician | February 2018 31

seem small, this one choice helps our community see the program as family-friendly and cost-efficient.

Additionally, several band alumni and community members donate uniform items to the program, and we keep them in our uniform closet for those in need. These include band T-shirts and polos, tuxedo shirts, black dress pants, black dress shoes, and formal black dresses. Whenever our students need assistance, we can usually fully outfit them through our donation closet.

In addition to clothing donations, we request water donations for football games, food donations for receptions and events, and monetary donations for trip and fee assistance.

CHANGING LIVES. NOT CHECKING BOXES. Your students possess both skill and passion. They thrive in an environment of high expectations and even higher commitment to CTVKUVKE CPF RGTUQPCN ITQYVJ 6JG 5CTQĆ&#x2019; O 5EJQQN QH (KPG #TVU QHHGTU these students a tailored, hands-on approach, with award-winning faculty and a student-to-teacher ratio of 6:1.

SCHOLARSHIP AUDITION DATES 0QX (GD CPF /CTEJ Ţ (QT UEJQNCTUJKR QRRQTVWPKVKGU XKUKV

southwestern.edu/musicscholarship 32 Southwestern Musician | February 2018

Together, a Little Does a Lot Fundraising in a Title I environment is tricky but necessary. Selling items to families who struggle to pay bills makes no sense. Our philosophy is that if everyone does a little, we all gain a lot! We have one selling fundraiser each year. Our goal is for every student/family to purchase one discount card and sell one more. With just one card purchased by all, the program quickly earns almost $3,500. A few years ago, while raising money to perform at the Music for All National Festival, we happened into the opportunity to work concessions at the Toyota Stadium in Frisco.

I realize not all communities have outlets like this, but there are more available than you might think. Most colleges and universities use outside groups to help with their events, and 10â&#x20AC;&#x201C;15 people usually covers the need. Community carnivals or festivals are other options for concession outlets.

These events are a wonderful fundraising opportunity because they donâ&#x20AC;&#x2122;t include asking families to purchase anything.

They only require work hours and smiling

Share Your Expertise!

SOUTHWESTERN MUSICAN article submission requirements at tmea.org/magazine

DEPARTMENT DEP

CHOICES.

OF MUSIC M

OPPORTUNITIES. BREAKTHROUGHS. S.

UNIVERSITY OF THE INCARNATE WORD ®

Degree Programs

Audition Dates

Bachelor of Music in Music Education

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1TEJGUVTC QH VJG +PECTPCVG 9QTF r %CTFKPCN ,C\\ To request an audition date, visit www.uiw.edu/music and click on $CPF r /CTEJKPI %CTFKPCNU r 9KPF 'PUGODNG auditions and scholarship information r %CTFKPCN %JQTCNG r %CTFKPCN 5KPIGTU r 2GTEWUUKQP 'PUGODNG r 8CTKQWU %JCODGT 'PUGODNGU DISCOVER THE POWER OF YOU

San Antonio, TX

DEPARTMENT OF MUSIC

Admissions and Scholarship | Auditions 2018

The Wind Ensemble is honored to again be invited to perform at the TMEA Convention!

Please join us on February 15th at 2:30 p.m. in the Lila Cockrell Theater

AUDITION

DATES

INSTRUMENTAL February 24 March 10 March 24

VOCAL February 24 March 03 April 07

Bachelor’s and Master’s degrees in Music emphasizing performance or music education *Additional dates upon request. Auditions are required of all entering and transferring music majors

tamuc.edu/music | 903.886.5303

faces. Through working the concession events, the GMS Band Program gains an average of $10,000 to $15,000. Combined with the discount card sale, we are able to cover our private lesson scholarships and master classes for a large percentage of our students as well as help with fees when needed.

Stretching Dollars for Instruction Offering private lessons is one of the best investments for students (second only to instruments). Through fundraising efforts, we have been able to offer 50% scholarships to all students who request them. In addition, we hire a private teacher per instrument to teach weekly master classes to our varsity level ensemble at a cost of $200 per month per instrument.

This allows more students to be exposed to private instruction and specific instruction on their instrument. Master class curriculum covers fundamentals, All-Region etudes, group solo for competition, UIL music assistance, and ensembles. This helps us get the most out of our funds.

If there isn’t money in the budget for private lesson instructors for beginners, utilize older students as mentors (big brothers/big sisters). Assign mentors by personality and instrument and have them meet at least once a week to practice together. Both the older and the younger students grow through this process, and the commitment through relationships strengthens the program. Another way to utilize older members is for high school section leaders to serve as master class teachers for the middle school groups.

The possibilities are endless with a little creativity!

We all benefit from the extra help that band clinicians offer when they listen to our ensembles. Yet rarely do we have a budget to support it. Create a clinician exchange with area band directors or your band director friends. Each director visits the other’s program for free (or perhaps just for the cost of a meal). If no one is nearby, utilize an online service like Skype to bring in a remote clinician. Another solution is to exchange recordings with each other. Find a band director friend, mentor, or college professor who would be willing to listen and give feedback to your recordings. There are many free programs online for recording your groups

or rehearsals. Audacity is free and easy to use!

Other Financial Outlets There are multiple opportunities for grants, especially for Title I schools.

Walmart, Target, Kroger, and Kohl’s (among others) give aid for educational programs and their applications are online.

For example, Walmart grants range from $500 to $2,000, and Kohl’s supplies workers to help during fundraising events and contributes $500 toward the effort.

Trips and Festivals Band students want to perform, and doing that outside their community makes it even more meaningful. Our middle school band trips are in the spring, with payments due throughout the school year. As mentioned earlier, these events aren’t required, but we present a plan to make them accessible for all. In addition to payment plans, we offer a band bucks program through our booster club where parents can earn vouchers to help with band fees. These vouchers are $10 per event per family member. Many families cover at least half of the cost of their trips through this program. We also have a griffin guardian program where community members, teachers, and band alumni donate anonymously with the expectation the funds are used to help students in need.

Planning is the key for any trip in a Title I school. Families need time to budget and staff needs time to look for discounts and assistance. Our trips are scheduled for late April and May but are planned in July and August of the previous year. This allows time to get the early-bird discounts and negotiate for lower prices by shopping around. In addition, as mentioned earlier, payment plans are in place at the beginning of the school year to help students and families with budgeting and planning.

There will always be challenges when teaching in a Title I environment, but they aren’t insurmountable. I prefer to look at these challenges as opportunities to be creative. All students deserve the opportunity to be a part of instrumental music, and it’s our job to ensure they can be part of the journey!

Leigh Ann McClain is director of bands at *ULIÀQ 06 LQ /HZLVYLOOH ,6'

Southwestern Musician | February 2018 35

WHAT STARTS HERE

CHANGES THE WORLD

music.utexas.edu/apply

ORCHESTRA 127(6

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The 4 disciplines of execution – Part III

L

ast month, I highlighted how we can identify and establish one or two wildly important goals. These goals need to be attainable within your daily whirlwind, and everyone on the team must have a clear understanding of these goals. Your team must also understand and agree with the finish line by following the “X to Y by when” rule. The next step is focusing on the correct measures that will allow you to accomplish your wildly important goal. This is where understanding how lead and lag measures play crucial roles in the success of accomplishing your goal.

February 14–17—TMEA Clinic/Convention in San Antonio.

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

February 16, 5:15 p.m.—Attend your Region meeting at the convention.

March 1—Texas Music Scholar online application opens.

April/May—Attend your spring Region meeting.

April–June 1—Submit proposals online for the 2019 TMEA Clinic/Convention.

May—TMEA membership year opens for online and mail/fax submission.

May 1—Deadline to nominate students for a Texas Music Scholar award.

Discipline #2: Act on the Lead Measures Businesses use what they call lag measures and lead measures to evaluate their progress or productivity. For us, a lag measure would be a playing test or benchmark achievements. These are often the measures we focus on to determine whether we are properly preparing concerts or performances. The problem with lag measures is that they cannot be changed. Lag measures only tell us whether we achieved the goal. For example, we cannot fix mistakes that happen on performances. We can only work and drill the concepts that will allow the students to perform at their highest level.

All too often, I realize in the middle of a performance that we focused on the wrong concepts. I wish I could go back in time and teach the students in a better way. Lead measures, on the other hand, are the actions we take to drive new behavior that will result in a better lag measure. This could include instituting finger pattern drills for a piece that has an unfamiliar key or rhythm exercises for a piece that is rhythmically challenging. Lead measures are predictive of achieving the goal and can be influenced by the students and teacher.

Understanding that the focus needs to be on lead measures rather than lag measures is a difficult mental shift, but it is necessary if we are going to institute change to achieve our wildly important goal.

A good balance is to spend 80% of your focus on IXOÀOOLQJ \RXU ZKLUOZLQG REMHFWLYHV DQG RQ \RXU ZLOGO\ LPSRUWDQW JRDOV Southwestern Musician | February 2018 37

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AVAILABLE DEGREES Bachelor of Music Piano Performance, Vocal Performance, and Music Theory

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One of the biggest issues with focusing on lead measures is the constant battle with our whirlwind. A common mistake is putting too much energy or focus on the wildly important goal and neglecting our whirlwind. This approach typically leads to stress and anxiety, resulting in the team abandoning the goal. A good balance is to spend 80% of your focus on fulfilling your whirlwind objectives and 20% on your wildly important goals.

One example that demonstrates focusing on the lead measures versus the lag measures is a playing test. I typically assign playing tests two to three weeks in advance. The students record these playing tests and submit them, and I grade them.

I have often fallen into the unproductive cycle of assigning the test, not working on that material, and expecting the students to practice that section before we rehearse it.

As I go through the excruciating process of grading the test, I quickly discover the students practiced and learned wrong notes, rhythms, and articulations. Then we must start over as we undo bad habits students have formed. This process not only doubles your preparation time but also makes the process frustrating for all. In this example,

I am focusing on the lag measure to determine how we move forward. The problem is I canâ&#x20AC;&#x2122;t do anything about the playing test other than reteach the concepts the students should have learned.

A better way would to be to focus on the

lead measures. In this scenario, I would assign a playing test and develop lesson plans that would allow the students to perform the playing test with proficiency. My focus would shift to the concepts that are important for the students to understand

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Southwestern Musician | February 2018 39

LAMAR UNIVERSITY ÂŽ

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December 2

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to perform the playing test with accuracy as opposed to listening to the test and realizing the concepts we need to fix. This process requires the teacher to properly prepare parts and thoroughly study the score before assigning a test. Additionally, teachers must develop lesson plans that break the playing test down into smaller concepts that are taught in a coherent sequence. This idea is similar to a video game where the player must master level one before they can move on to level two.

Essentially, the teacher creates a game for the students. By following this path, you are focusing on the lead measures rather than the lag measure. These lead measures are predictive of achieving the goal and can be influenced by you and the students as you monitor and adjust these measures to successfully prepare for the lag measure.

If all goes well, then the playing test should be easier to grade, as we are simply checking to make sure the students mastered the lead measures. This is utilizing the playing test as an indication of whether or not we focused on the correct lead measures.

Discipline #3: Keep a Compelling Scoreboard Another problem we often face is in students holding themselves and the teacher accountable, which usually means the goals are not being translated into specific actions. I can remember too many concerts when 80% of the ensemble was performing beautifully while the other 20% faked their way through. I had no doubt this 20% could have performed better had they practiced more and been more engaged in the rehearsal process. One way to build them up and hold them accountable is to create a compelling scoreboard that will make the students feel like they are in a winnable game. If every student understands there is a scoreboard involved, they will want to contribute to the team being successful.

One of the most demoralizing aspects of our daily whirlwind is that it feels like we never accomplish anything. We are constantly completing one necessary task just to move on to the next. We never feel like we are winning, so energy dissipates, intensity lags, and the students revert to business as usual. What happens if we find ways to start keeping score on the student’s progress? Students will hopefully work harder and understand how practice and rehearsal efforts affect the performance.

Playing Test Averages 100 95 90 85

Class Test Averages Average Goals

80 75 70 Playing Test #1

Playing Test #2

Playing Test #3

When a scoreboard is present and students recognize whether they are winning or losing, they will push harder to succeed.

For a scoreboard to be compelling, you must consider a few simple rules. First, the scoreboard has to be simple. Our intuition is to develop complex scoreboards that students don’t understand and that don’t yield simple feedback. If students don’t understand the scoreboard that measures their progress, they will abandon the game. The scoreboard must also be visible to the team so that they can always see their progress.

Even better, you can post a scoreboard that shows the progress of every ensemble.

This will hopefully lead to the students not only wanting to win the game but also win before the other classes. The scoreboard

Playing Test #4

must also show both lead and lag measures. Students can monitor where they are now and where they should be. Lastly, it has to tell you immediately whether you are winning or losing.

An example of a compelling scoreboard could be a chart outlining class averages on playing tests.

In this example, the scoreboard is simple and the students can quickly see if they are winning or losing.

Now that we have defined our wildly important goals, decided on the lead measures to act on, and created a compelling scoreboard, the final and most important step is to create a Cadence of Accountability. In the next article, I will discuss how to enable your students to hold

COLORING BOOKS & MUSIC LESSON PLANNERS Coloring Books

Southwestern Musician | February 2018 41

themselves and their peers accountable.

TMEA Clinic/Convention I hope you are as excited as I am about the upcoming convention. Our Honor Orchestra performances are sure to be outstanding—be sure to attend each and to support your colleagues and celebrate their students’ accomplishments. Three incredible clinicians will be working with the All-State orchestras that are performing fun and challenging music. Make sure you take the opportunity to observe rehearsals and learn from these inspiring

conductors. I am especially excited about all the fantastic clinics presented by topnotch clinicians.

If you’re in San Antonio on Wednesday, be sure to attend the President’s Concert featuring a live recording of NPR’s From the Top, and, as an added bonus, Black Violin will be performing. Make sure you attend the General Sessions and the Orchestra Division Meeting. Also, I look forward to meeting new friends, catching up with old friends, and reminding myself how fortunate I am to be part of TMEA and to teach in the great state of Texas.

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Get the TMEA 2018 Guide The 2018 app will be available at the beginning of February. To get the convention app, download Guidebook from your app store. In Guidebook, search for TMEA 2018 to download it to your device. If you opted in to have your TMEA online personal schedule transferred, you will need to sign in using the email address you identified for your personal schedule transfer.

A New Location for Badge Pickup TMEA convention registration (for attendees, exhibitors, visitors, and the information booth) has moved to Hall 1 of the Henry B. Gonzalez Convention Center.

This hall is in the northeast corner of the convention center, most quickly accessed from the front doors of the North Lobby that faces Market Street (just east of the Grand Hyatt). For hours and a map of this location, go to www.tmea.org/2018hours.

If you prepaid, you will scan your preregistration code and your badge and receipt will print directly at that kiosk (new!). The week before the convention, you will receive an email with that code, and if you can’t find it, you can still look up your record by name. If you haven’t paid, you can pay on-site to receive your badge. Look for the On-Site Registration area in this hall. You can still register online at www.tmea.org/register (same fee as on-site).

Wednesday Technology Preconference If you are attending this preconference, go directly to the second floor (south) of the convention center to the lobby outside of CC 210 to get your separate badge for this one-day event. You can register on-site ($50, no purchase orders accepted). Find a list of events in the convention schedule.

Texas Music Scholar Award The Texas Music Scholar Award designates students in high school music programs who exemplify attributes of meritorious performance in the areas of scholarship, musicianship, and citizenship. The Texas Music Scholar Award entry system will open on March 1, and you can submit students until May 1. You can find the qualification criteria and access the student submission system at www.tmea.org/musicscholar.

2018 TMEA President’s Concert WEDNESDAY, FEBRUARY 14 • 8 P.M. • LILA COCKRELL THEATER • $15

TICKETS Purchase general admission tickets ($15) : • at the Information Booth in Convention Registration • after 7 p.m. on Wednesday in the Lila Cockrell lobby Pick up purchased tickets at the Information Booth. (After 7 p.m., go to Lila Cockrell Theater lobby.)

From the Top with Host Christopher O’Riley showcases America’s best young classical musicians, celebrating their stories, talents, and character.

The recording at our President’s Concert will exclusively feature young Texas musicians (and special guest performers Black Violin).

Black Violin, classically trained violist and violinist Wil B. and Kev Marcus, will be guest performers during the recording of From the Top and featured performers following the recording. Black Violin combines their classical training and hip-hop influences to create a distinctive multigenre sound that is often described as “classical boom.”

Their appearance is sponsored by the NAMM Foundation.

Southwestern Musician | February 2018 43

Graduate Music Education Courses as Brief as Two Weeks (plus online components)

June 5 to July 7 Introduction to Applications in Music Technology: MUSI 5342.D01 • Dr. Keith Dye (O) Music for Students with Exceptionalities: MUSI 5306.D01 • Dr. Janice Killian (O)

June 4 to June 15 Foundations of Music Education: MUED 5340.101 • Dr. Keith Dye • 8am-12pm (L,V) Tests & Measurements: MUED 5333.101 • Dr. Janice Killian • 8am-12pm (L,V) Band Conducting Methods: MUAP 5310.101 • Dr. Eric Allen • 1pm-5pm (L) Choral Conducting Methods: MUAP 5308.101 • Dr. Carolyn Cruse • 1pm-5pm (L)

June 18 to June 29 Teaching Music in Urban Settings: Meeting the Needs of Culturally Diverse Learners: MUED 5344.101 • Dr. Jacqueline Henninger • 8am-12pm (L,V) Topics in Orchestral Music Education - Rehearsal Strategies for the MS & HS Orchestra: MUED 5327.101 • Dr. Blair Williams • 8am-12pm (L) Styles in Wind Literature of the 19th & 20th Centuries: MUTH 5305.101 • Dr. Peter Martens • 8am-12pm (L,V) Special Problems in Music Education - Orchestral Conducting Methods: From Bow to Baton: MUED 5344.102 • Dr. Blair Williams • 1pm-5pm (L) Topics in Band Music Education - Band Repertoire & Trends: MUED 5326.101 • Dr. Eric Allen • 1pm-5pm (L,V) Globalization and Music Education - Incorporating World Music: MUED 5344.103 • Dr. Jacqueline Henninger • 1pm-5pm (L,V) Choral Directors Workshop (during All-State Choir Camp - June 18-23): MUSI 7000.101 • Dr. Carolyn Cruse • 8am-12pm OR 1pm-5pm (L)

July 9 to July 20 Graduate Theory Review with AP Primer: MUTH 5300.201 • Dr. Peter Fischer • 8am-12pm (L) Band Directors Workshop (during Band & Orchestra Camp - July 8-14): MUSI 7000.201 • Dr. Keith Dye • 8am-8pm (L,V) Healthy Musicianship as Conductor-Teacher and Performer: MUED 5344.204 • Dr. Carolyn Cruse • 1pm-5pm (L,V) Learning & Music: MUED 5332.201 • Dr. Janice Killian • 1pm-5pm (L,V)

July 10 to August 10 Classroom & Rehearsal Behavior Management: MUED 5344.D02 • Dr. Janice Killian (O) Graduate Music History Review: MUHL 5300.D02 • Dr. Stacey Jocoy (O) Advanced Applications of Technology in Music Education: MUSI 5343.D02 • Dr. Keith Dye (O) O = online • L = live • V = video conference

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How Hurricane Harvey Altered My Perspective as a Teacher

by Jeff Collier

I

currently have the unique experience of being both a teacher and a student. As a middle school band director by day and a doctoral student by night, I find that the opportunity to teach while taking classes can often be a juggling act. I have always enjoyed being a student, but I also had very few roadblocks standing in my way; I grew up in a supportive family that encouraged me to get good grades, stay out of trouble, and complete my homework. While I’ve always known that some of my students experienced difficulties outside the classroom that prevented them from paying attention, I don’t think I ever truly understood why a student would lack the motivation to be successful—until two months ago, that is.

When Hurricane Harvey struck in August, my wife, pets, and I were forced to evacuate our house by boat. We ended up losing our home, cars, and most of our possessions. Despite being safe and taking comfort from the support of friends and fellow teachers, the experience changed me as a student.

For the first time, I had mental roadblocks. When I would sit down to read, I could not comprehend the words on the page.

When I attempted to type a paper, I could not find the motivation to complete the project. My mind would instantly drift to the issues we were facing and to flashbacks of the disaster that we went through. This was the case despite the fact that the doctorate is something I have aspired to achieve for years.

A Better Understanding As I lay awake at night, I drew connections between my current situation and the issues many students experience, not just the impacts of the flood—that was now the easy part to comprehend—but other roadblocks that are less easy to see. Apart from natural disaster, poverty, racism, depression, bullying, divorce, and other complex issues weigh heavily on many students’ minds.

These roadblocks are especially hard to address when they are not visibly present.

Throughout my entire teaching career, I never really understood how students could sit in class and do nothing when given time to practice, or decline to participate, or refuse to turn in a homework assignment—even if they were given several opportunities. It was not until Hurricane Harvey that I got a glimpse of the mentality of struggling students. I can think back on how I would tell students to be better and work harder, thinking that they were simply being lazy or entitled.

I used to believe that if we helped students with external factors—giving them food, providing transportation, giving them afterschool library access, or providing them a safe and comfortable learning environment—that the pathway to learning would open and the issues on their minds would magically disappear. I now know this is far from the case. I can’t imagine feeling the way I felt after Harvey and being asked to concentrate or to learn a topic in which I had no interest.

The Life Preserver Students Need Support does make a difference for learning, to some extent.

In my own experience, I knew that if I did not have a loving wife, professors working with me, fellow classmates encouraging me, or friends to stay with, I would have dropped out of my program.

Thanks to a support system, I feel like I can continue to tread water with a life preserver until I am mentally ready to swim. At the very least, this network has prevented me from sinking.

This is why, since the storm, I have put even more of an emphasis on building relationships with my students. I pass out questionnaires to get to know them better and have been to football games and piano recitals to show them that I genuinely care about them and their interests. I want to show students that they are a part of something bigger than themselves and that they have people who will support them, even when they can’t be on task.

I am also more mindful of looking for situations that may be impacting my students and try to consistently remind them that I care about them and believe in them. For students who are struggling, I am more understanding and patient and have learned not to take students’ apathetic attitudes personally.

It is critical for teachers to give students grace as well as tools to surmount these mental roadblocks. Even when it feels like your support is not making a difference, it could very well be the only life preserver that student is holding on to.

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Southwestern Musician | February 2018 47

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Have a new convention experience

I

t’s February, and in Texas that means it’s time to start planning for UIL choral contest, spring trips, pop shows, solo and ensemble, end-of-year concerts, and the blessed day of senior graduation. Of course, you’re doing all of this in the midst of AP and state standardized testing, composing college recommendation letters, and conducting numerous auditions, all while counting down the days to spring break.

But for now, it’s time to start planning for our annual pilgrimage to San Antonio for the TMEA Clinic/Convention. What does attending the convention mean to you? Perhaps the answer to that question depends on where you are in your career and stage of life. I want to encourage you to attend this year’s convention, but more importantly, I want to encourage you to see it with new eyes and a new and open perspective. Take advantage of the numerous and exciting new opportunities our convention offers. Our convention is the largest yearly gathering of its kind in the nation. Unfortunately, I have to admit, there was a point in my career when I considered attending our state convention more as a “have-to” than a “get-to.”

I was one of those who had my convention planned down to perfection, or so I thought. My schedule was so mundane; I could do it in my sleep. I arrived on the same day of the week for the convention. I stayed in the same hotel. I ate at the same restaurants on the Riverwalk, on the same days of the week, and even ordered the same meals (shout-out to my OCD friends who are secretly questioning what’s wrong with any of this).

I would look through my convention book and circle clinic listings only by those people I knew, and I rarely attended a concert by a choir of a different level from what I was teaching. I most certainly never gave a thought to volunteering or contributing to the creation of the convention. However, if you ever

2SHQ WKH GRRU DQG VHH D ZKROH QHZ ZRUOG RI OHDUQLQJ DQG RSSRUWXQLW\ 50 Southwestern Musician | February 2018

February 14–17—TMEA Clinic/Convention in San Antonio.

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

February 16, 5:15 p.m.—Attend your Region meeting at the convention.

March 1—Texas Music Scholar online application opens.

April/May—Attend your spring Region meeting.

April–June 1—Submit proposals online for the 2019 TMEA Clinic/Convention.

May—TMEA membership year opens for online and mail/fax submission.

May 1—Deadline to nominate students for a Texas Music Scholar award.

needed an opinion on what was wrong with the way things were running or how to make it all better, I was quick to offer it—free of charge. Do you know someone like this today?

While I’m not proud of this past behavior, I am just being honest about it. One year (I believe it was 1998), I decided to make a change for the better, and I ran to be our Region’s Vocal Chair. Starting this new chapter in my career afforded me the opportunity to learn and to be exposed to a whole new world. Learning and seeing all the behind-the-scenes work and being a part of the creation of an event gives you an entirely different perspective and greater appreciation. Those of you who have been in leadership positions know this is an understatement. Like so many, I used to arrive in San Antonio for the convention and never thought about how any of it came to be!

It’s important that once a year we take a moment from our hectic teaching schedules to stop, reunite, and rejuvenate with our colleagues in the profession. When the teacher is restored, rejuvenated, and motivated, the effects transfer to their students, directly and positively affecting their learning. As we often hear, “we will get out of it whatever we put into it.” Get involved.

Be a part of the success.

I encourage you to approach our convention with a new perspective. Open the door and see a whole new world of learning and opportunity. I recommend the following: • Attend every choral concert.

• Attend a choral clinic, especially one by a first-time presenter. Be supportive.

• Attend a non-choral concert. If you’ve never seen a performance of any the All-State instrumental ensembles, you’re missing out on an amazing experience!

don’t assume you know all there is to know about the profession. When you’re around a more experienced director, ask for five minutes of their time or offer to buy them a cup of coffee. Take that time to seek advice on a specific area you’d like to improve in your career, or at the very least, say thank you.

• If you’re a more experienced director, also don’t assume you know all there is to know about the profession or that you couldn’t possibly learn from someone less experienced. Take

advantage of meeting and speaking with some of our cutting-edge younger directors who are blazing successful paths in choral education within our state.

• As you travel throughout the convention center, take the opportunity to find those directors who have laid the path for our success—the trailblazers.

I can assure you that where we are as Texas choral directors and music educators did not just happen. We owe a great deal of appreciation to so many.

• Don’t just be a spectator; get involved!

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• Attend the TMEA General Sessions.

• Sit in an All-State Choir rehearsal and learn from the world-renowned choral educators (listed in the convention schedule).

• Attend the Vocal Division Business Meeting—even on a non-election year.

• Make time to visit and support the vendors in the exhibit hall.

• Regardless of your experience level, Southwestern Musician | February 2018 53

I’m looking forward to seeing each of you in San Antonio. It was once described to me that our colleagues in other divisions greet each other at convention with a mundane “How’s it going?” while we choir directors are easily identified by our boisterous greetings—I love it! I hope to see you all in just a few days!

Get the TMEA 2018 Guide The 2018 app will be available at the beginning of February. To get the 2018 convention app, download Guidebook from your app store. Within Guidebook, search for TMEA 2018 to download it to your device. If you opted in to have your TMEA online personal schedule transferred, you will need to sign in using that same email address identified for your personal schedule transfer.

A New Location for Badge Pickup TMEA convention registration (for attendees, exhibitors, visitors, and the information booth) has moved to Hall 1 of the Henry B. Gonzalez Convention Center.

This hall is in the northeast corner of the convention center, most quickly accessed from the front doors of the North Lobby that faces Market Street (just east of the Grand Hyatt). For hours and a map of this location, go to www.tmea.org/2018hours.

If you prepaid, you will scan your preregistration code and your badge and receipt will print directly at that kiosk (new!). The week before the convention, you will receive an email with that code, and if you can’t find it, you can still look up your record by name. If you haven’t paid, you can pay on-site to receive your badge. Look for the On-Site Registration area in this hall. You can still register

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online at www.tmea.org/register (same fee as on-site).

Wednesday Technology Preconference If you are attending this preconference, go directly to the second floor (south) of the convention center to the lobby outside of CC 210 to get your separate badge for this one-day event. You can register on-site ($50, no purchase orders accepted). You can find a list of these events in the convention schedule.

Texas Music Scholar Award The Texas Music Scholar Award designates students in high school music programs who exemplify attributes of meritorious performance in the areas of scholarship, musicianship, and citizenship. The Texas Music Scholar Award entry system will open on March 1, and you can submit students until May 1.

Find the qualification criteria and access the student submission system at www.tmea.org/musicscholar. Texas Music Scholars receive a certificate, patch and letter from the Texas Music Educators Association signed by the Executive Director.

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Change Your Approach With RESTORATIVE PRACTICES

by Cara Craggett

I

t’s Wednesday afternoon and the sixth-grade boys walk into the choir room and begin their normal routine. They put their binders on their seats and begin to set up for our Circle time. Today our Circle discussion will be about bullying.

As the Circle leader, I hold the Talking Piece and open the circle: “Remember the guidelines. Speak only if you have the talking piece; you may always pass it if you don’t want to talk. Share and speak from the heart, say only what you need to say, and honor confidentiality.” I share a brief video on bullying to set the stage for our Circle theme, and then we go in to our daily check-in.

I ask the students how they are doing today on a scale of zero to five and why. Because I am the Circle leader I ask the question and answer first. “I’m a five, because I’ve had a great day so far, and I’m excited to be here with y’all.” The talking piece is passed around the circle, and the boys give their answers. “I’m at a five because I love choir.” “I’m at a three because I overslept and missed the bus, and my dad is furious when I wake him before I leave.” “I’m at a four because it’s just a good day.” The boys have come to trust each other from doing these Circles. They know this is a safe place and they are willing to share. It didn’t start this way; at the beginning they wouldn’t want to answer and would pass a lot. By week three there were very few passes. This Circle time is one example of how I’ve incorporated Restorative Practices into my classroom.

and resort to exclusionary practices or referrals to administration.

We all want to deal with the issues in our classroom, but sometimes taking the time away from class to do that seems impossible.

Unfortunately, administrators are bound to the same cookie-cutter practices that stopped being effective years ago. Many relationships between students and teachers are suffering as a result.

My school implemented Restorative Practices to address the root of challenging student behaviors rather than react to their results. It has been a difficult cycle to break, but I’ve seen it happen at my school and especially in my classroom. I now enjoy the opportunity to teach throughout the entire class period, and my students are learning in an inclusive environment—an environment that feels more like family than anything else.

Restorative Practices does not replace rules and consequences, and it certainly does not replace procedures, but it uses a unity-building approach to build a classroom culture.

Consequences are still required, but we develop such a level of respect and trust that I can explain what is happening and welcome the student back after that consequence. The first step to this procedure was coming up with our Respect Agreement. We wrote it together, but it is more their voice than mine.

What does it look like for the students to respect the teacher?

“We need to listen to you, not talk back or yell at you.”

What does it look like for me, as the teacher, to respect you?

“Be patient with us when we are having a bad day, help us, don’t call us out, and understand how we learn.”

I love hearing their voices in this quadrant. How does the student respect the student? How do we all respect this classroom?

Students want so badly to have a voice, and when I give that to them they really step up. They are kind, loving, inviting, and thoughtful. They encourage one another. They challenge one another with lessons they have had to learn the hard way.

Why Restorative Practices?

Educators are faced with student behaviors that constantly interfere with the learning process. With increasing pressures in school, it is easy to get frustrated and angry with misbehavior 56 Southwestern Musician | February 2018

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This is the foundation of our classroom culture. If we don’t understand respect we cannot function well in class. We start each class by looking over the agreement, and every Monday we come up with that week’s respect goal. The Respect Agreement has been signed by each of us. It is our commitment to being held to this agreement.

Our Circle time is another major component of Restorative Practices.

After the check-in portion of our Circle time we go into our question rounds.

“What does bullying mean to you?” I give my answer and then pass it to my left. I hear things like, “Bullying is when you make someone feel less than you,” or “Bullying is when someone feels insecure so they try to make themselves feel better by making you feel worse.” “Basically, bullying is when anyone makes you feel unsafe for any reason.”

We move on to the next question. “Have you ever been bullied?” I share my story of when I was bullied. The boys seem genuinely upset and shocked that I was bullied.

One student raises his hand. I give him the talking piece and let him ask his question.

“Ms. Craggett, you were really bullied?”

Suddenly I was human to them. I have struggles, which is important that they know. They respect me in a different way when they are aware of this fact. I am no longer on a pedestal. I am a human being with struggles and joys. I have good days and bad days, just like they do.

The talking piece goes to the next person. “I’ve been bullied a lot. I’m an easy target. I was so scared about coming to middle school because I knew I would get bullied. If I’m being honest, I was especially worried about getting bullied by kids like Randy [another student in our circle].

He’s cool, and tall, and someone who would normally bully me. An interesting thing has happened in the last three weeks, though. Through our Circle time I have come to know Randy. Now, not only would I feel sure that he would have my back if I were ever bullied, but I also consider him a friend. We have a good relationship.”

Moments like this are what prove to me that this time is worth it. Not only does it help me relate to my students and my students relate to me, but it helps them relate to one another. They realize they have something in common with a classmate, and it breaks down the barriers. When we share our joys and our hardships with each other in Circle, or check in with a zero or a

five we become human. We become family, and our work in class changes because of it. Furthermore, our final product changes when we have this level of respect for one another.

Six weeks into the school year a new sixth grader was added to my Treble Girls’ Choir. She was welcomed, but it was clear the girls just saw her as another student.

She wasn’t family yet. I held a Circle on change with those girls a few days after she joined. “What is one of the biggest changes you have gone through in your life?” Most of the answers were a variation of the same thing: “Coming to middle school has been one of the biggest changes I’ve gone through.” The talking piece got to our new classmate. “One year ago my mom was in a car accident. She was paralyzed and has been in bed for a year now. My grandma cares for us because my mom isn’t able to anymore. That’s the biggest change I’ve been through.” Suddenly she was family.

She was not just a new student; she was a student who had just been through the hardest year of her life. The girls immediately responded. “I’ll give you my number after class.” “We can give you a ride if you need it.”

I think one thing I’ve learned from using Restorative Practices for the past year and a half is how loving these kids are when given a chance to be human. They want so badly to have a voice, and when I give that to them they really step up. They are kind, loving, inviting, and thoughtful.

They encourage one another. They challenge one another with lessons they have had to learn the hard way. They invest in each other and check up on each other.

I don’t have to ask them to do that. They don’t just do it in Circle. They do it all the time.

When I added this process into my classroom on year three of my career, the whole culture changed. The drama lessened, the bullying stopped, and students’ respect increased, not just toward me, but toward each other as well. They helped one another and supported one another. There was a new culture of kindness. It was safe.

We became family.

Cara Craggett is Choir Director at Wedgwood 6th Grade Center in Fort Worth ISD. She is presenting a clinic on this topic during the 2018 TMEA Clinic/ Convention.

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Southwestern Musician | February 2018 59

ELEMENTARY NOTES

B Y

C A S E Y

M E D L I N

Avoiding burnout

F

ebruary is a rough month for elementary music teachers. The restorative winter break seems distant in your rearview and we face another five to six weeks before spring break. It’s easy during this time of year to lose energy and excitement for teaching.

Luckily, we’ve got each other to help us through the difficult times, and I hope that by supporting each other, we can help prevent the real issue of teacher burnout.

The most reinvigorating thing I do every year is attend the TMEA Clinic/ Convention. Many of us are the only music teacher on our campus, so we don’t have a colleague to talk through our planning, programs, or behavior issues. It can be isolating. The TMEA convention, however, is anything but that. Being around thousands of music educators, exhibitors, performers, and music lovers never fails to raise my spirits! Every year I return home with new ideas from the clinics. Participating in the dances and games are great for stress relief. I am continually amazed by the wonderful elementary performances. Retail therapy in the exhibit hall is always fun. Lastly, is there anything better than enjoying dinner while talking shop on the Riverwalk? For me, the convention is my annual reminder of why I became a music teacher.

For some of us, though, attending the TMEA convention every year isn’t possible. What then? Create your own Professional Learning Community. Talk with other music teachers in your district. Attend your TMEA fall and spring Region meetings and local workshops. These are great places to network! Join music teacher groups on social media. There are people out there who are willing to help or are willing to be a sounding board. Find them. Keeping everything to yourself can become overwhelming, stressful, and one of the fastest routes to burnout.

Here are some tips from my amazing friends on how they avoid teacher burnout: “Keeping things in perspective. Yes, my job is important. Yes, I want to do everything perfectly. Yes, I want to make every performance the best. No, I do

There are people out there who are willing to help or are willing to be a sounding board. Find them.

60 Southwestern Musician | February 2018

February 14–17—TMEA Clinic/Convention in San Antonio.

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

February 16, 5:15 p.m.—Attend your Region meeting at the convention.

April/May—Attend your spring Region meeting.

April–June 1—Submit proposals online for the 2019 TMEA Clinic/Convention.

May—TMEA membership year opens for online and mail/fax submission.

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not think stressing out helps make a show better or me a better teacher. The kids will remember less about the songs they sang and the choreography they did and more about how they felt before, during, and after a performance. We are responsible for that and can steer it toward a positive or negative experience.â&#x20AC;? â&#x20AC;&#x201D; Gaby Forrest â&#x20AC;&#x153;Have fun with your kids! Sing and dance with them; hug and praise them.

Dress up on fun spirit days and donâ&#x20AC;&#x2122;t forget to smileâ&#x20AC;&#x201D;smilingâ&#x20AC;&#x2122;s my favorite! Donâ&#x20AC;&#x2122;t feel like you always have to recreate the wheel. All great teachers beg, borrow,

and steal ideas from someone else who inspired them. Sharing is caring!â&#x20AC;? â&#x20AC;&#x201D; Traci Patterson â&#x20AC;&#x153;Take care of yourself. Do something for you. Work out, cook good food, get rest, go see a movie, or go shopping. Then fulfill your musical needs by making music!

After all, thatâ&#x20AC;&#x2122;s what initially brought us to this profession. Then ask yourself what made you become a music teacher, and channel that!â&#x20AC;? â&#x20AC;&#x201D; Julie Boettiger â&#x20AC;&#x153;I love finding ways to give a boost to my coworkers. If I hear someone compliment a fellow teacher or staff member, I pass it on that people are saying great things about them! I do the same things with my studentsâ&#x20AC;&#x201D;I pass on the great things I hear about them. When I am feeling frustrated with a particular student or group of students, I find a way to connect with them outside of my classroom. Talking with a student before school, laughing with a group of kids at lunch, or just stepping outside at recess helps me see my students when they are most relaxed. I work hard to find joy in my job every day! Smiling and laughing with my students and coworkers keeps me loving my job.â&#x20AC;? â&#x20AC;&#x201D; Lauren Summa TMEA Clinic/Convention Updates Please plan to attend the Elementary Division business meeting on Thursday, February 15, from 5:15 to 6:00 p.m. This year, Little Kids Rock will be presenting their take on the importance of music in kidsâ&#x20AC;&#x2122; lives. Go to their website to learn more: littlekidsrock.org. As always, our wonderful sponsors have donated some amazing door prizes. Who will be the big winners this year?

Saturday will be a busy day at the convention this year! Our featured clini-

cians, Artie Almeida and Jill Trinka, will each give two sessions you wonâ&#x20AC;&#x2122;t want to miss. Also, on Saturday, all the elementary sessions and our division office will be moved to the second and fourth floors in the Grand Hyatt. You can find these locations in the convention app. Come by the Elementary office in CC 215 on Thursday or Friday if you have any questions.

Get the TMEA 2018 Guide The 2018 app will be available at the beginning of February. To get the 2018 convention app, download Guidebook from your app store. Within Guidebook, search for TMEA 2018 to download it to your device. If you opted in to have your TMEA online personal schedule transferred, you will need to sign in using that same email address that you identified for your personal schedule transfer.

A New Location for Badge Pickup TMEA convention registration has moved to Hall 1 of the Henry B. Gonzalez Convention Center. This hall is in the northeast corner of the convention center, most quickly accessed from the front doors of the North Lobby that faces Market Street (just east of the Grand Hyatt). For registration hours and a map of this location, go to www.tmea.org/2018hours.

Wednesday Technology Preconference If you are attending this preconference, go directly to the second floor (south) of the convention center to the lobby outside of CC 210 to get your separate badge for this one-day event. You can register on-site ($50, no purchase orders accepted). You can find a list of these events in the convention schedule.

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How Music Shapes Us

by Donald A. Hodges

T

he worlds of music and music education are filled with interesting and unusual tidbits of information that underscore the value of our profession and how important it is to continue to champion opportunities for our students to study music. How many of the following 10 fun facts did you know?

1. Most people can identify the genre of a musical excerpt that is as brief as one-eighth of a second. Nearly 350 college students listened to classical, jazz, country, metal, and rap/ hip-hop excerpts that were 1 second, 1⁄2 second, 1⁄4 second, and 1⁄8 second long.1 Overall, listeners correctly identified the genre of 76% of the excerpts; even at the shortest length, they were correct 54% of the time. Level of training, gender, and preference influenced speed and accuracy of identification.

Even more impressively, listeners can generate an emotional response to a specific musical excerpt in as little as 50 milliseconds!2 These are just two indicators of how exquisitely the brain is designed for music.

2. Infants can process musical pitch almost as well as adults.

Tested just two to three days after birth, newborns were successful in distinguishing deviant from standard tone pairs.3 Brain responses to unexpected tone patterns were significantly different from those of standard tone pairs. Similarly, infants can process the direction of pitch change, separate different sound streams (e.g., mother’s voice from the radio), and create different representations of pitch and timbre. We come into the world primed and ready to respond to music.

3. Practicing a musical instrument changes the brain in physical ways that lead to faster and more efficient musical responses.

As one practices scales or difficult passages, for example, neurons in the brain wire together to create specific pathways.4 As

the behavior is performed repeatedly—especially in deliberate practice that involves focused attention, appropriate feedback and opportunities to repeat the behavior with corrections—a fatty covering (myelin) is wrapped around axons, making message transmission faster and more efficient. Axons are the long “tail” that extends from the nucleus of a brain cell, carrying information from one neuron to another. One note of caution, however, is that this process occurs whether the behavior is correct or not. Thus, music teachers who have told their students to practice slowly and correctly while learning a passage have strong neuroscientific evidence to support them.

4. Even if a person stops playing a musical instrument, the effects of building this skill persist into adulthood.

Researchers found that those who learned a musical instrument as a child, but did not continue as adults, had stronger brain responses to sound than those who never learned to play.5 Thus, music education in childhood, even if discontinued, has positive implications for the adult brain.

5. Being exposed to loud sounds, including music, can permanently damage your hearing. According to the latest standards, being exposed to anything louder than 85 decibels (dBA), approximately the loudness of a garbage disposal or passing diesel truck, for eight hours may cause a problem.

Each rise of 3 decibels cuts the amount of optimal exposure time in half (e.g., 88 dBA for 4 hours).6 Musicians should get in the habit of wearing hearing protection in particularly loud settings.

6. Humpback whales “compose” songs. Male humpbacks vocalize as they migrate to and from breeding grounds. These “songs” reflect geographic location and identify specific pods.7 Southwestern Musician | February 2018 65

including religious and political affiliation and orientation to education.11 Music educators have the special privilege of offering a safe haven of beauty and acceptance to everyone with whom they come in contact.

Further, all the males in a pod learn the same song, indicating some form of cultural transmission. All living creatures make sounds, and while it may not be music per se, animal and nature sounds have profoundly influenced human music.8 7. Some singers have learned how to produce two melodic lines simultaneously. Tuvan throat singers, seminomadic herders from southern Siberia, can produce a low-pitched drone that is sustained while a higher-pitched melody is sung above it.9 Often, the melody is a fanciful representation of local environmental sounds, such as a waterfall, birds, or other animal and nature sounds. Human ingenuity and creativity in organizing musical sounds is limitless and often pushes the boundaries of what is possible.

10. What you do every day as a music educator matters—a lot.

• It matters to newborns and toddlers. Six-month-old infants who participated in six months of music classes emphasizing active musical engagement exhibited more positive social development and stronger brain responses to music than those who only listened to music passively.12 • It matters to children. Following one year of musical training, beginning at age four and a half, children developed stronger brain responses associated with higher cognitive functioning than those who did not take music lessons.13

8. Participation in music can enhance self-esteem and attitudes of at-risk students. Adolescent girls who were at risk of academic failure participated in a music-only or a musicmentorship program in which they mentored students with developmental disabilities.10 Self-esteem scores increased in both groups, and those in the mentoring group also became more interested in teaching as a career.

9. Music education experiences are a prime way for all students to be included. As a vehicle for social justice, music education can and should involve matters of language, age, gender, sexual orientation, social class, ethnicity, race, color, physical characteristics such as size, weight, height, and dexterity, personality characteristics such as introversion, independence, sensitivity, and anxiety, intelligence, wealth, geographic location, culture and country of origin, and family background

• It matters to teenagers. Adolescents described their music teachers as important role models who encouraged and motivated them to succeed.14 • It matters to senior citizens. Older adults who participated in a music ensemble experienced a clear sense of accomplishment and fulfillment.15 • It matters to the school as a whole. Students in schools with high quality music programs outperformed students in schools with inferior music programs on standardized tests of English and mathematics.16 Two additional sources clearly demonstrate that what you offer your students makes a difference to an individual’s overall quality of life.

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musiced.music.unt.edu/programs/masters 66 Southwestern Musician | February 2018

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• Alf Gabrielsson interviewed more than 1,300 individuals and asked them to describe the most powerful musical experience they had ever had. In a book of nearly 500 pages, he recounted personalized stories that detailed the amazing and powerful role that music has played in people’s lives. Here are just two, selected quotes from the dozens he cited: “Just as food is necessary for your body, music is necessary for your soul.” “Music, for me, has been an enlarged part of reality, an extension. Through music, I can find myself, my identity, my strength, my soul. It always strengthens me, makes me feel fulfilled, bigger than myself. Gives me calm, peace, harmony, and balance.”17 • Adam Croom detailed the strong role that music plays in human flourishing.18 Based on a thorough review of psychological and neuroscientific research, Croom confidently claimed that being actively involved with music contributes significantly to a high-quality, fulfilling life. He found evidence to support the notion that music can positively influence one’s emotional life, one’s interpersonal relationships, one’s sense of flow in engaging activities, one’s level of accomplishment, and one’s experience of meaning or purpose in life.

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Surely you already know that what you do as a music educator makes a difference. I hope this direct and compelling evidence gives you even more reasons to celebrate yourself from time to time and to continue doing the hard and important work that you do!

Donald A. Hodges is Professor Emeritus at the University of North Carolina at Greensboro, having recently retired after 43 years of university teaching. Hodges is a 2018 College Division Featured Clinician.

References 1. Mace, S., Wagoner, C., Teachout, D., & Hodges, D. (2012).

Genre identification of very brief musical excerpts. Psychology of Music, 40(1), 112–128.

2. Ashley, R. (2008). Affective and perceptual responses to very brief musical stimuli. Paper presented at the International Conference on Music Perception and Cognition, 25–29 August, Sapporo, Japan.

3. Stefanics, G., Háden, G., Sziller, I., Balázs, L., Beke, A., Winkler, I. (2009). Newborn infants process pitch intervals.

Clinical Neurophysiology, 120, 304–308.

4. Walter, D., & Walter, J. (2015). Skill development: How brain research can inform music teaching. Music Educators Journal, 101(4), 49–55.

5. Skoe, E., & Kraus, N. (2012). A little goes a long way: How the adult brain is shaped by

geauxmusic.com

THEY SAY LIFE IS A REHEARSAL. LET’S GET STARTED. 68 Southwestern Musician | February 2018

musical training in childhood. The Journal of Neuroscience, 32(34), 11507–11510.

6. National Institute for Occupational Safety and Health.

Occupational Noise Exposure. https://www.cdc.gov/niosh/ docs/98-126/pdfs/98-126.pdf 7. Noad, M., Cato, D., Bryden, M, Jenner, M., & Jenner, K. (2000). Cultural revolution in whale songs. Nature, 408(6812), 537.

8. Krause, B. (2012). The great animal orchestra: Finding the origins of music in the world’s wild places. New York: Little, Brown, and Co. 9. Levin, T., & Edgerton, M. (1999). The throat singers of Tuva.

Scientific American, 281(3), 80–87.

10. Darrow, A., Novak, J., Swedberg, O., Horton, M., & Rice, B. (2009). The effect of participation in a music mentorship program on the self esteem and attitudes of at-risk students. Australian Journal of Music Education, 2, 5–16.

11. Jorgensen, E. (2007). Concerning Justice and Music Education. Music Education Research, 9(2), 169–189, p. 169.

12. Trainor, L., Marie, C., Gerry, D., Whiskin, E., & Unrau, A. (2012). Becoming musically enculturated: Effects of music class for infants on brain and behavior. Annals of the New York Academy of

70 Southwestern Musician | February 2018

Sciences, 1252, 129–138.

13. Trainor, L., Shahin, A., & Roberts, L. (2009). Understanding the benefits of musical training: Effects on oscillatory brain activity. Annals of the New York Academy of Sciences, 1169, 133–142.

14. Campbell, P., Connell, C., & Beegle, A. (2007). Adolescents’ expressed meanings of music in and out of school. Journal of Research in Music Education, 55(3), 220–236.

15. Coffman, D. (2009). Voices of experience. Lessons from older adult amateur musicians. In. J. Kerchner & C. Abril, eds., Musical experience in our lives: Things we learn and meanings we make (pp. 331–346). Rowman & Littlefield Education.

16. Johnson, C., & Memmott, J. (2006). Examination of relationships between participation in school music programs of differing quality and standardized test results. Journal of Research in Music Education, 54(4), 293–307.

17. Gabrielsson, A. (2011). Strong experiences with music. Trans.

R Bradbury. Oxford, UK: Oxford University Press, p. 444 and p. 446.

18. Croom, A. (2012). Music, neuroscience, and the psychology of well-being: A précis. Frontiers in Psychology, 2(393), 1–15, p. 1.

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B Y

S I

COLLEGE NOTES

M I L L I C A N

A shoebox of valentines

I

February 14–17—TMEA Clinic/Convention in San Antonio.

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

February 16, 5:15 p.m.—Attend your Region meeting at the convention.

April/May—Attend your spring Region meeting.

April–June 1—Submit proposals online for the 2019 TMEA Clinic/Convention.

May—TMEA membership year opens for online and mail/fax submission.

t’s party time in San Antonio! This year when you attend the annual TMEA Clinic/Convention, the City of San Antonio will be celebrating its 300th birthday!

I hope that you get a chance to help us celebrate this momentous occasion when you visit in February, but we’ll be celebrating all year long. See a complete list of activities at sanantonio300.org.

A visit to the Alamo City is often cause for celebration.

In fact, most years the TMEA Clinic/Convention overlaps Valentine’s Day, and 2018 is no exception. One of my fondest childhood memories is that of going with my mother to the Gibson’s variety store in Temple to pick up a package of cardboard Valentine cards to pass out to my classmates at St. Mary’s Elementary School. Equipped with a list of my classmates and a box of 12 Crayola crayons, I made sure each of my classmates received a card. Having just watched the Charlie Brown Valentine’s special on TV, I did not want any of my classmates to experience the disappointment of not getting a card of their own.

This year I want to give a few virtual Valentines to some of the people who work behind the scenes to make TMEA such a special experience.

To the hundreds of TMEA members who volunteer their time and talents to introduce our clinicians, guide performing groups, assist with registration, organize All-State ensembles, judge and monitor seating auditions, run sectionals, monitor the exhibit hall entrances, manage division offices, register students, tabulate audition results, and set up and tear down equipment for rehearsals for the 18 All-State ensembles at the convention.

When you see someone who is helping ensure our convention runs smoothly, thank them for their service.

Southwestern Musician | February 2018 73

To the many employees of the City of San Antonio with a special salute to the San Antonio Police Department, the San Antonio Fire Department, and the folks who run the Henry B. Gonzalez Convention Center as they shepherd over 29,000 humans bustling about downtown San Antonio during the convention.

To the many riggers, electricians, movers, stage hands, audio engineers, technologists, and other employees who help make 500,000 square feet of exhibit hall space one of the best venues for music industry professionals in the world.

To the staff members at TMEA who work tirelessly behind the scenes to pull the many threads of the convention together.

I fondly remember carrying home my hand-decorated cigar box full of Valentines from my grade school classmates at the end of the day. When you see one of the people on the list above at this year’s convention, drop a “virtual valentine” in their box by thanking them for what they do behind the scenes to make the event run smoothly.

74 Southwestern Musician | February 2018

TMEA Collegiate Music Educator Award Nominations for spring and summer graduates to receive the TMEA Collegiate Music Educator Award are due

by March 15. One representative from each institution can nominate qualified recipients online at tmea.org/collegiateaward.

Award recipients receive a certificate and letter from TMEA, citation cords that can be worn with the graduates’ academic regalia, and recognition on the TMEA website.

Convention Highlights I hope you are anticipating the upcoming Clinic/Convention this month.

Participation by university ensembles has exploded, with 34 college and university ensembles selected to play at featured concerts and in musical showcase performances. These large ensemble and chamber music experiences are not to be missed.

Make plans to catch the presentations by our two College Division featured clinicians. Donald Hodges is professor emeritus at the University of North Carolina at Greensboro. His sessions feature the latest in brain research and how it can help us

understand teaching and learning music.

Hodges will also introduce us to the remarkable story of Sister Wendy Beckett and how her work can guide our teaching of music and the arts today. Alice Hammel is a faculty member at James Madison and Virginia Commonwealth Universities. An inspiring teacher and author, Hammel will present techniques for working with students of differing abilities and from varied backgrounds. See the September Southwestern Musician for featured clinician information.

The College Division business meeting will be Thursday, 5:15 to 6:00 p.m. in CC 304. In this meeting, we will elect a new College Division Vice-President and review and vote on the minutes from our Fall Conference as printed in the January Southwestern Musician. We will also hear updates on the latest College Division business from our various committees.

Invite your alumni to check the convention schedule for the college reunions held on Friday from 9:30 to 11:30 p.m.

Two exciting events may be of special interest to college students who are on the cusp of graduation. First, there will be four sessions in which college students can

20 20 2018 01 18 Summer Organ Institute June 10-16

High School Band and Orchestra Camp Band: grades 9-12/Orchestra: grades 10-12 June 17-23

Middle School Band and Orchestra Camp Grades 7-9 June 24-30

Summer Piano Institute gre June 24-30

All-State Choir Camp July 10-14

observe or practice interview skills with fine arts administrators from across the state. These sessions will be at 10:00 a.m. and 1:00 p.m. on Thursday and Friday.

Secondly, remind your graduating students to check out the Job Fair beginning at 6:00 p.m. in Bridge Hall on Friday.

Locations for each event are online at tmea.org/conventions/2018.

Finally, the schedule for the College Fair and College Night has been modified a bit to accommodate more visitors. The three-day College Fair follows the exhibit hours (Thursday, 9 a.m.–5 p.m.; Friday, 10 a.m.–8 p.m.; and Saturday, 9 a.m.– noon). College Night will be from 5 p.m. until 8 p.m. on Friday.

That’s just a sample of what’s to come later this month. You can review the complete schedule in the December Southwestern Musician, build your

own custom schedule online at tmea.org/ convention, and get the convention app.

Get the TMEA 2018 Guide The 2018 convention app will be available at the beginning of February.

Download Guidebook from your app store and Guidebook, search for TMEA 2018 to download it to your device. If you opted in to have your TMEA online personal schedule transferred, you will need to sign in using that same email address that you identified for your personal schedule transfer. You can create and edit your personal schedule, find locations of any event, look up exhibitors, and interact with other attendees.

A New Location for Badge Pickup TMEA convention registration (for attendees, exhibitors, visitors, and the

information booth) has moved to Hall 1 of the Henry B. Gonzalez Convention Center.

This hall is in the northeast corner of the convention center, most quickly accessed from the front doors of the North Lobby that faces Market Street (just east of the Grand Hyatt). For hours and a map of this location, go to www.tmea.org/2018hours.

If you prepaid, you will scan your preregistration code and your badge and receipt will print directly at that kiosk (new!). The week before the convention, you will receive an email with that code.

You can still look up your record by name.

If you haven’t paid, you can pay on-site to receive your badge. Look for the On-Site Registration area in this hall. You can still register online at www.tmea.org/register (same fee as on-site).

>

76 Southwestern Musician | February 2018

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