January 2019 Southwestern Musician

JANUARY 2019

Contents VO LU M E 87 ɵ I S S U E 6 ɵ JA N UA RY 2019

Features TMEA Executive Board Candidate Statements . . . . . 16 Before you vote, learn more about the candidates for the next TMEA President-Elect and Orchestra, Vocal, and Elementary Division Vice-Presidents.

How Will You Encourage Our Future Teachers? . . . . . 39 As an influential mentor, you are in a powerful position to support your students who exhibit the potential to be effective music educators.

[PE T ER WA R S H AW]

Ingredients for Success in an Urban or Title I School . . . . . . . . . . . . . . . . . . . . . . . . . . 50 Working in a challenging environment can be most rewarding for all involved, especially when you see how music changes your students’ lives for the better.

[S C OT T M CA D OW]

Reaching Underserved Populations . . . . . . . . . . . . . . 76 Learn more about preparing future teachers to better support underserved populations in school music ensembles.

[J U DY B O W E R S]

39 Columns President’s Notes . . . . . . . . . 5 [R O B ER T

H OR TO N]

Executive Director’s Notes . .10

Updates

[R O B ER T

F LOY D]

Band Notes . . . . . . . . . . . . . 26

Creating Your Convention CPE Record. . . . . . . . . . . . . . . . . . . . . . . . . . 2

[J O H N

CA R R O L L]

THE PIANO GUYS to Honor Texas Music Educators . . . . . . . . . . . . . . . 4

Orchestra Notes . . . . . . . . . 45 [B R I A N

C O AT N E Y]

Attend the One-Day Technology Preconference. . . . . . . . . . . . . . . . . . 15 2019 TMEA Clinic/Convention: Important Deadlines Near . . . . . . . . . . 37 HS String Honor Orchestra Results. . . . . . . . . . . . . . . . . . . . . . . . . . . . 49 College Division Fall Conference Images . . . . . . . . . . . . . . . . . . . . . . . 84

Vocal Notes . . . . . . . . . . . . . 58 [DER R ICK

B R O O K I N S]

Elementary Notes. . . . . . . . 68 [CA S E Y

M ED L I N]

College Notes . . . . . . . . . . . 82

on the cover

Stephen Rubio, a sophomore at the University of Texas at El Paso, performs with the UTEP Wind Symphony during the 2018 TMEA Clinic/Convention. Photo by Karen Cross.

[V I C K I

BAKER]

Southwestern Musician | January 2019

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

Managing Editor: Karen Cross

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

Creating Your Convention CPE Record

TMEA Executive Board President: Robert Horton rhorton@conroeisd.net :HVW 'DYLV 6WUHHW &RQURH ² 7KH :RRGODQGV +6

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

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

Band Vice-President: John Carroll John.Carroll@ectorcountyisd.org 1800 East 42nd Street, Odessa, 79762 432-456-2285 – Permian 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 PDMRUVFDOH #JPDLO FRP :LPEOHGRQ 'ULYH $OOHQ 214-450-7464

Elementary Vice-President: Casey Medlin casey.medlin@fortbendisd.com 6DQG\ 6HD 5RDG 5RVHQEHUJ ² %UD]RV %HQG (OHPHQWDU\

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

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

TMEA members attending our convention 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 so that you will be prepared to return from the convention and complete your record.

1. Now: Create a personal schedule online. ‡ *R WR ZZZ WPHD RUJ FRQYHQWLRQ ‡ *R WR WKH 6FKHGXOHV SDJH DQG FOLFN RQ 3HUVRQDO Schedule • Log in with your username and password Bonus! Save it by January 24, opt in, and your schedule will transfer to your convention app account!

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

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

Membership Manager: Susan Daugherty | susand@tmea.org Communications Manager: Karen Cross | kcross@tmea.org Financial Manager: &ULVWLQ *DIIQH\ | cgaffney@tmea.org Information Technologist: Andrew Denman | adenman@tmea.org Administrative Assistant: 5LWD (OOLQJHU | rellinger@tmea.org

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

3. When you return home: Update your online personal schedule to confirm the workshops you attended and print your CPE form. Submit one to your school district and keep a copy for your records.

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.

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Southwestern Musician | January 2019

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Honoring Texas Music Educators with a featured performance at the 2019 TMEA President’s Concert r o f r e f f O Exclusive ! s e e d n e t t A n o i t n e v TMEA Con

Wednesday, February 13, 8 p.m.

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Southwestern Musician | January 2019

B Y

R O B E R T

H O R T O N

PRESIDENT’S NOTES

Start from the end

B

January—Renew your membership and register for the convention.

January—Purchase tickets to the President’s Concert.

January 22—Last day to cancel without penalty a reservation made with the TMEA housing system.

January 24—TMEA convention online early registration deadline.

January 25–February 16—Online convention registration remains available, but at a higher rate.

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

egin with the end in mind. It seems so simple, doesn’t it? But what does it take to get to the end?

Do you know where you are going and what you want? These simple but powerful questions have been a defining part of many parts of my life in education.

The most effective and successful teachers I’ve known have embraced this idea of starting with the end in mind and applied it to their work. I submit that this concept can be grouped around the letters W for willingness, O for openness, R for realistic assessment, and D for determination. With that in mind, I would like to share some thoughts and pose some questions for you to consider.

Willingness is a key component of any activity related to growth. Do you have a willingness to be reflective? Taking time to think deeply about the many factors involved in your work can be truly valuable. How long has it been since you evaluated your work and teaching methods? Did the last concert or competition have the results you wanted or intended? On a related thought, how do you define success at the end of a journey? Some of our colleagues define success very narrowly as winning a competition, earning first chair, or some other singular outcome. I submit to you that if this narrow focus is your only measure of success, it is too restrictive. The journey and the experience can each hold merit, if you are willing to consider the growth that can and should occur for both teachers and students. Are you willing to raise your standards and take chances? Are you willing to set and reach for new goals?

I hope that as you pursue your goals in the coming months, you live in the power of yet for you and your students.

Southwestern Musician | January 2019

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At the risk of sounding redundant, what is your level of openness? After much research, personality experts who have studied human traits agree that openness to experience can be a significant influential factor in human development. Considering our lives in education, how open are you to professional learning? I encourage you to seek out a mentor who can coach you toward your goals.

I encourage you to remain open to their suggestions. Our feedback resources are not limited to our colleagues and mentors, however. Have you considered ask-

ing your students for their suggestions as well? Some of the best changes I’ve made in my teaching and program goals resulted from suggestions students made to me.

One important caveat about feedback— consider which voices you will allow to influence your decisions and how their feedback aligns with your goals.

It is critically important to be realistic on your journey. Personally, I have been guilty of not being realistic about many factors in my teaching career. At times, I haven’t been realistic about my resources.

Early in my career, I programmed “Down

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by the Salley Gardens” for my Junior High Boys Choir. These 18 young men gave it a valiant effort. However, just because I loved the Chanticleer recording and could solfège all the parts, it wasn’t realistic for me to expect this would be a piece that could help these young men grow. We managed to get through it at UIL contest, but I still remember the judges writing comments about how challenging the piece was. I encourage you to be realistic about what resources you have in your students’ experience, your time available to teach, and your skills. Consider the challenges, but as General Colin Powell said, “Don’t take counsel of your fears and naysayers.” Be true to your vision.

Finally, remain determined to succeed.

As a high school teacher, I had the privilege of teaching a student who faced some significant obstacles in her life. Her family life was difficult, she was shy, and she wasn’t very confident. She had tried out for Region Choir but not yet made it. She had auditioned for our school’s top band but hadn’t made that either. When she came to me in the 10th grade to tell me she wanted to be a music major, I encouraged

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her to remain determined. I told her that “persistence wins.”

She took that advice to heart and continued to remain determined. Happily, she did make Region Choir, did earn a spot in the top band, and earned a music scholarship. But she took it even further—she enlisted in the military, auditioned, and was selected to serve as a musician. By earning this spot, she was able to have her education paid for through the GI Bill. Later, she became a teacher. In a letter she wrote me, she explained that she never forgot “persistence wins.” One thing I admired about this young woman was her unshakable optimism. She knew how difficult her situation was and that she had not attained her goals. But she also lived in the power of yet. She had not attained her goals—yet. I hope that as you pursue your goals in the coming months, you live in the power of yet for you and your students.

Sometimes as I write these columns, I get concerned about preaching a bit too much. I have been blessed, however, with a unique opportunity to share what I believe and what I have seen help others be successful. So, given that opportunity,

I continue to share. I hope that you consider how WORD (Willingness, Openness, Realistic assessment, and Determination) can help you on your journey as an educator. I also hope that you see in yourself and your students the unlimited potential for the future.

Invite Your Administrator to the Convention Each year many upper-level school administrators learn more about music education by attending our conven-

tion. While some are there to support their school’s performing groups, several administrators attend just to take in all that our convention has to offer and to witness the great learning opportunities you have by attending. This is a great way to showcase the rigor of music education and the many ways it benefits your students.

Invite your principals, superintendent, and school board members to attend. They can go to www.tmea.org/adminregistration to register. TMEA provides them complimentary convention credentials.

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EXECUTIVE DIRECTOR’S NOTES

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Continued focus on urban education

I

n July of 2016 the TMEA Executive Board hosted a summer dialogue that for the first time focused solely on identifying successful strategies for serving urban school music programs. While this had been a topic of board discussion for some time, this was a first commitment to such a project. Approximately 20 urban teachers from across the state gathered around the board table at the TMEA office and for two days shared their stories of success and challenges to meet the needs of their programs, students, and communities. For those in attendance, it was a life-changing experience, and it spurred us to continue a deep dive into serving this underserved population from a TMEA perspective.

At the following TMEA convention, the Executive Board initiated the first urban music roundtable discussion sessions. Those four sessions, with over 100 members present at each, were inspiring and uplifting, and all in attendance left with new ideas and increased verve for serving the students in their programs.

Fast-forward to last February where we once again held these roundtable sessions, and they were larger and more inspirational than the year before. In 2019 this project continues, and we have designed a new classroom space that will be larger and more convenient (located in West Registration on the street level, down the hall from Lila Cockrell theater). Among other topics this year,

TMEA’s summer dialogue on urban school music education was a life-changing experience, and it spurred us to continue a deep dive into serving this underserved population from a TMEA perspective.

10 Southwestern Musician | January 2019

January—Renew your membership and register for the convention.

January—Purchase tickets to the President’s Concert.

January 22—Last day to cancel without penalty a reservation made with the TMEA housing system.

January 24—TMEA convention online early registration deadline.

January 25–February 16—Online convention registration remains available, but at a higher rate.

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

experts will be guiding sessions on racial divisiveness and music education.

In addition to holding meetings and sessions on the urban topic, we have published several articles in the last two volumes of Southwestern Musician and compiled them along with the detailed notes from the Urban Summer Dialogue into one document. You may access this document at www.tmea/urban.

So why such an emphasis? Consider the following report of the 2016–2017 school year as included in the Pocket Edition, an annual publication by the Texas Education Agency in which they publish state-level statistics. Of the 5.34 million public school students in our state, 59% were economically disadvantaged, and that number is now projected to be 63%. Of the total

population, 19% are English language learners, and over 69% of all campuses are Title I schools. These percentages will likely continue to rise.

The last two years, the roundtables have not been the only sessions in the programs focusing on urban music, and this year will be no exception. In total there will be nine urban sessions, including presentations in each performance division that will include student demonstration groups. All urban sessions for 2019 are listed in the inset below. I hope you will make an effort to attend as many as possible. You will be a better teacher because of it. While the Board three years ago made a conscious decision to limit this emphasis to urban rather than urban and rural to truly focus on only inner-city programs, many of

Urban Music Education Sessions at the 2019 Clinic/Convention The following sessions include a focus on strategies for success in urban music programs. Each is a one-hour clinic, with the primary TMEA Division noted, along with the location, clinician(s), and clinic title. For more details, review the schedule preview in the December issue or the online convention schedule.

THURSDAY, FEBRUARY 14 11:30 AM, GM, CC West Registration / Adrienne Dixson, Univ of Illinois at Urbana-Champaign Urban School Music: Exploring the Relationship Between Race, Racism, and Music Education 1:00 PM, Vocal, Grand Hyatt Lone Star DEF / Colton Blake, Self-Employed Successful Strategies for Urban, Title I Boys 2:30 PM, GM, CC West Registration / Adrienne Dixson, Univ of Illinois at Urbana-Champaign Urban School Music: Developing a Racial Praxis in Music Education

FRIDAY, FEBRUARY 15 11:30 AM, GM, CC West Registration / Colton Blake, Self-Employed Urban School Music: A Culture in Crisis, Part I

the challenges in small communities are similar, and I encourage teachers in rural school districts to peruse the list for sessions that may interest you.

Teacher Recruitment In a recent meeting of Central Texas fine arts administrators, there was a lengthy discussion on the shortage of fine arts teachers in our state and what we could do to address it. Shortages in other arts disciplines were more critical than in music, yet shortages in elementary, choir, and orchestra are a concern in certain parts of the state. In this Southwestern Musician issue, we explore this challenge, and I encourage you to read Peter Warshaw’s article on this topic. His insight is worthy of your attention. In addition, TMEA College Division clinician Judy Bowers writes about the changes we must all consider in how we deliver instruction with such changing socioeconomic balance and ethnic diversity in our state. Also of interest, 68% of Texas students are Hispanic or African American, yet only 37% of Texas teachers are Hispanic or African American. Focusing on greater diversity in recruiting into music education should be a priority.

In summation, we all know the success of any music program in any school district or on any campus is anchored in the quality of the teacher in front of the class and the magic they bring to ignite the passion and love for music in the lives and hearts of their students. The future of music education in our state is dependent on each of us doing our part to recruit our best and brightest students into our profession and encouraging them to attend a four-year university to receive comprehensive, rigorous instruction and training to set them up for success.

11:30 AM, Band, CC Starts at Night 1–2 / Hector Trevino, Burbank HS Building a Successful Model for Today’s Urban Band Program 1:00 PM, Vocal, CC 217 / Beverly Chinn, Wilmer-Hutchins HS Strategies for Success in an Urban, Title 1 Small-School Choir Program 2:30 PM, GM, CC West Registration / Colton Blake, Self-Employed Urban School Music: A Culture in Crisis, Part II 6:30 PM, Band, CC 221 / Jason Levin, Victoria ISD Developing Resilience and Grit in Your Title I Ensemble 6:30 PM, Orchestra, CC 214 CD / Anne Lundy, Texas Southern Univ; Frederick McBride, MacGregor ES; Jennifer Mills, Bruce ES How Successful Urban Orchestras Are Built Southwestern Musician | January 2019 11

2019 TMEA Clinic/Convention The Best Place to Learn IMPORTANT DATES January 22 Last day to make, modify, or cancel a reservation via the TMEA housing system January 24 Online Early Registration Ends After this date, you can continue to register, but fees will increase.

Complete Your Online Schedule This is the deadline to have it transferred to your mobile app account.

12 Southwestern Musician | January 2019

y b r e t s i g e !

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Go to www.tmea.org/convention for the latest updates!

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The preconference will be held in the San Antonio Grand Hyatt on Wednesday, February 13.

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Executive Board Candidates Election of TMEA President-Elect will be by electronic ballot on February 14, following the First General Session and closing at 10 P.M. Go to www.tmea.org/election to learn more. Divisional Vice-Presidents will be elected at their Division’s Business Meeting, Thursday, February 14, at 5:15 P.M. Orchestra (Room 214 CD); Vocal (CC 217); Elementary (Grand Hyatt Texas Ballroom).

Candidates for President-Elect: Derrick Brookins & Brian Coatney Derrick Brookins Present Position: Dean of Music K–12, Trivium Academy, Carrollton.

Previous Position: Director of Choral Activities, Plano Senior HS (2003–2017), Adjunct Professor of Choral Music, Univ of Texas/Dallas (2011–2015), Director of Choirs, Williams 9th & 10th Grade HS (1997–2003), Assistant Director of Choirs, Travis MS (1996–1997).

Education: Bachelor of Music, University of North Texas (1996); Master of Education in Texas Administration, Concordia University (2011).

TMEA Offices and Positions Held: Vocal Division VicePresident & State Vocal Chair (2017–present); Vocal Division Clinic & Volunteer Coordinator (2014–2015); Convention Performance Ballroom Choral Concert Coordinator (2011–2013); Ways and Means Committee Chair (2010); All-State Men’s Choir Organizer (2007–2008); All State Mixed Choir Section Leader (2006); Area C Vocal Chair (2005); Region 25 Vocal Chair (1999–2001); Region 24 Vocal Chair (1998–1999); Region Choir Organizer (2012–2014); Region & Area Audition Site Host; Vocal Division Facilities Team (2013–2015); Region Choir Guest Clinician (with various Region Middle and High School Choirs throughout Texas).

Other Offices and Positions of Leadership Held: Multicultural & Ethnic Music Division Chair, for Southwest American Choral Directors Association (2009–2011); Coeditor of Common Times Magazine for SWACDA (2009–2011); Director of Music, St. James Episcopal Church, Dallas (2003–Present).

Professional Affiliations: TMEA, TCDA, TMAA, ACDA, SWACDA. Honors/Accomplishments: TMEA Invited Performing Choir Conductor-Plano Senior HS A Cappella Women (2009, 2017); Missouri All-State Mixed Choir Conductor (2014); National American Choral Directors Association Invited Performing Choir Conductor, Plano Senior HS A Cappella Men’s Choir (2017),

Learn about the candidates and vote on February 14!

16 Southwestern Musician | January 2019

A Cappella Mixed Choir (2013), A Cappella Women’s Choir (2007), National MENC Invited Performing Choir, Plano Senior HS A Cappella Mixed Choir (2005); TCDA Convention Choral Clinic Presenter (1999, 2001, 2005, 2016); 13-year member of the Moses Hogan Chorale; Teacher of the Year, Williams HS (2000); Teacher of The Year, Plano Senior HS (2008); Plano ISD Teacher of Excellence Award (2008); Plano ISD Diversity in Leadership Award (2014); Plano ISD Educational Foundation Award (2012, 2017); American Choristers Guild, Convention Clinician; guest lecturer for choral music education, University of North Texas, Texas State University.

Personal Information: Born in Fort Worth, and the son of a preacher, my faith is a very important factor of my life. As a young man I first began singing in the Texas Boys Choir and playing violin in the FWISD Middle School Youth Orchestra. I am a lifelong learner of music. I enjoy spending time with my family and friends. When not involved in a music endeavor (the three weekends out of the year), I enjoy traveling, cooking, and classic movies. I’m very proud to have been the high school teacher of 17 students who have gone into music education and are presently working as music educators throughout Texas. I have devoted my life to teaching, serving others, and education through music. My motto has always been: A life given to music, is a life given to serve.

Statement: I am honored to have the opportunity to be considered for the office of President-Elect. My 23 years of teaching in this amazing state have afforded me the opportunity to work with all levels, from kindergarten to middle school, high school, and at the collegiate level. TMEA’s invaluable resources and support system are integral to the success of music education in Texas. I seek the office of TMEA President-Elect for several reasons. My specific goals for TMEA that I feel I am uniquely qualified to promote are: • Continue to enhance and enable the edification of each TMEA Division in understanding the unique challenges and opportunities each division holds.

• Not only to maintain, but also to strengthen the formal recognition of music as part of the fine arts in the curriculum of every Texas student.

• Create even greater opportunity to publicly acknowledge the outstanding achievements of our students in the greater community.

• Strengthen efforts to educate local administrators and district leaders of the importance of the work done by their music educators and individual students.

• Work to actively participate in TMEA’s effort to present effective evidence to our state legislators, supporting the creative and educational benefits successful music programs provide our students across the state.

I believe my career and life experience have positioned me in a very distinct way to assume the duties of this important position.

My varied experiences help me support the diverse challenges experienced by all our membership and appreciate the educational success we achieve each and every day as Texas music educators. I sincerely ask for your vote.

Brian Coatney Present Position: Orchestra Director, Plano Senior HS, Plano ISD (2007–present).

Previous Position: Orchestra Director, Klein HS, Klein ISD (2003–2007).

Education: Bachelor of Music Education, Northwestern State University (2001); Master of Music Orchestral Conducting, James Madison University (2003).

TMEA Offices and Positions Held: TMEA Vice-President and Orchestra Division Chair (2017– present); Region 25 Orchestra Chair (2011–2014); Region 25 VicePresident (2013–2015).

Other Offices and Positions Held: TMAA Committee on Standards of Adjudication and Performance Practices; Plano Senior HS Department Head.

Professional Affiliations: TMEA, TODA, ASTA, TMAA, Mu Omicron.

Honors/Accomplishments: Marjorie Keller Young Teachers Award; TMEA High School Honor Full Orchestra (2009, 2012, 2015); Midwest Clinic Invitation (2017).

Statement: I am humbly seeking your vote in the 2019 TMEA President-Elect election. It has been an honor and a pleasure to serve as TMEA Vice-President and Orchestra Division Chair, and I am proud of the progress we have made together as an Orchestra Division. Working with the Board, we have converted the All-State String Orchestra into a new full orchestra that will utilize the 5A wind players. Students enrolled in 5A band programs will no longer have to move to the 6A track to experience being part of an AllState orchestra. We were also able to devise a plan that adjusts the orchestra recording apportionment to help competitive Regions while not putting other Regions at a disadvantage. In the past, we invited one college orchestra that would perform a featured concert and accompany the All-State Choirs. This has often made the preparation process difficult and stressful. We now invite two college orchestras to perform at TMEA, with one orchestra presenting a featured performance and the other orchestra accompanying the All-State Choirs. This change has led to better experiences and gives another college orchestra the chance to be featured at TMEA. All of these changes would not have happened without input from membership and the diligence of the Executive Board. I have enjoyed learning more about the audition process in each division and inner workings of TMEA. My hope as President is to continue this dialogue and find resolutions to issues that TMEA is currently facing. We have a positive plan in place for Small School Choir, but we need to continue to evaluate and tweak the process to ensure students and teachers are getting an educational experience that is both memorable and cost-effective. I would like to work with the Board to provide more membership benefits to elementary teachers by awarding more elementary grants and investigating the idea of establishing satellite TMEA conventions for our members who have to travel long distances. A growing concern in the Band

Division is whether we are giving our percussionists the same experience that other All-State musicians receive. Creating an AllState percussion ensemble has been discussed and I think more dialogue is imperative. As TMEA’s membership continues to grow, it becomes easier for members to feel like they do not have a voice and cannot make a difference. I believe this concern is most prominent in our College Division. We need to expand our mentoring program and find more ways we can help college students become involved. I am also excited to carry on our Urban School initiative, as this will be an invaluable resource for our membership.

TMEA has a rich history of success that I attribute to passionate members and outstanding leadership who have always had the foresight to adjust to our ever-changing needs. We live in exciting times and I anticipate that more than ever, we need to remain forward-thinking while maintaining our tried and true traditions.

I will actively seek input from regional leadership and membership to address any concerns or issues we face as an organization.

My hope is to continue TMEA’s rich tradition of collaboration, provide inspiring All-State experiences, and creatively advance music education. I am grateful for everything our association has provided me and I am passionate about the mission of TMEA. I would greatly appreciate your support and vote.

Prepare to Vote Electronically Do the following before February 1!

On February 14, after the First General Session, President-Elect ballots will be emailed to TMEA members eligible to vote. To prepare to vote electronically, complete the following steps before February 1. For more information, go to www.tmea.org/election.

1. Ensure the email on your TMEA member record is accurate. Go to tmea.org/memberinfo and log in.

If needed, you can update and save a new email address in your record.

2. If you will be at the convention on February 14, be sure you can access that email account remotely (on your personal device or over the Internet on a computer, such as at your hotel). If you are unable to access a computer elsewhere, you can go to the TMEA Help Desk by Onsite Registration for assistance (Thursday 10 A.M.–5 P.M.).

3. To prevent your ballot email from being blocked, add membership@tmea.org to your safe senders list.

W W W.T M E A .O R G / E LEC T I O N

Southwestern Musician | January 2019 17

Candidates for Orchestra Vice-President: Michael Stringer & Jason Thibodeaux Michael Stringer Present Position: Coordinator of Fine Arts, Arlington ISD (2017–present).

Previous Position: Director of Orchestras, Martin HS, Arlington ISD (2006–2017); Director of Orchestras, Midway ISD, Waco (2000–2006).

Education: Bachelor of Music, University of Texas at Arlington (2000); Master of Education, Stephen F. Austin State University (2018).

TMEA Offices and Positions Held: Region 8 Orchestra Chair (2001–2004); Region 8 Vice-President (2004–2006); Region 5 VicePresident (2006–2016); Region 5 President (2016–2018); Computer Coordinator for All-State Orchestra Auditions (2006-present); Chair of Agenda Committee (2018).

Other Offices and Positions Held: Associate Conductor, Waco Youth Symphony (2003–2006); CSAPP, TMAA (2014–2016); VicePresident, Mu Omicron (2018–present).

Professional Affiliations: TMEA, TODA, TMAA, TMAC, Mu Omicron, Phi Mu Alpha Sinfonia.

Honors/Accomplishments: TMEA High School String Honor Orchestra (2015); TMEA High School Full Honor Orchestra

(2017); 71st Annual Midwest Clinic Performance (2017); TMEA Honor String Orchestra Finalist (2007, 2009, 2010, 2011, 2012, 2013, 2014, 2015); TMEA Honor Full Orchestra Finalist (2010, 2012, 2015, 2017); National Winner, Mark of Excellence (2011); Arlington ISD AWARE Award for Educational Excellence (2014); James Martin HS Teacher of the Year Nominee (2017–2018); James Martin HS Fine Arts Wall of Fame Inductee (2018).

Personal Information: I have been happily married to my wonderful wife Sara, a former band director and current school counselor, for 15 years. We have two children, Matthew (12) and Kari (2) who are the pride and joy of our family. Matthew is an active member of his school’s orchestra and choir programs and Kari sings every chance she gets!

Statement: It is with a most humble heart that I accept the nomination for the office of TMEA Vice-President and Orchestra Division Chair. Throughout my career, I have sought to advance orchestral music in this great state and believe that I can continue the growth and enhancement of our division as a member of the TMEA Executive Board. With the rapid growth of orchestral programs in Texas, I believe it is time that we fully review and update our All-State audition process. Each year, we have panels who judge from 8:00 a.m.–10:00 p.m. at the area level, which leaves questions about the accuracy of rankings, judge fatigue, and if we are listening to enough content per student to make an accurate assessment of each performance. Alongside a committee of our membership, I believe we can find an outcome that addresses and solves these concerns. I also believe that we can recommend a revised selection criterion that will include and recognize the amazing musicians across the state.

Music scholarships available to non-music majors I Faculty who focus on UNDERGRADUATES I National and international ENSEMBLE TOURING I DEGREES in music education, performance,

and composition I MASTER of Arts in Teaching, a 5th year program

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

trinity.edu/music

think. perform. explore.

18 Southwestern Musician | January 2019

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

In my role as a fine arts administrator, I have witnessed the burnout and fatigue that occurs in the first years of teaching. As a young teacher, I was lucky enough to be mentored by legendary teachers who took the time to make sure I was set up to be successful in my classroom. Current mentoring programs rely on the new teacher to reach out and ask for help, when it should be the veteran teachers who reach out to our newest colleagues. As Orchestra Division Vice-President, I will work to continue the growth and development of new teachers and help us work toward expanding the mentoring program to be more personal and sustainable for the mentor and mentee throughout the first years of teaching.

Through passionate and ever-evolving leadership, TMEA has continued to stand at the forefront of music education in our nation. As a membership, we must continue to challenge standards while maintaining traditions. As Vice-President and Orchestra Division Chair, I will work tirelessly to continue the advancement of orchestral music in our state and address the concerns of the membership through our Region leadership and committees made up of the membership. It is my most sincere hope to continue to showcase inspiring teaching with our Honor Orchestra concerts, provide once in a lifetime experiences through our All-State performances, and fully develop our instruction during our convention clinics. TMEA has given me so much throughout my career, and I now hope that I can give back to this great organization.

Thank you for considering me in the TMEA Orchestra Division election.

Jason Thibodeaux Present Position: Director of Orchestras, HS Orchestra Director, Winston Churchill HS, North East ISD, San Antonio (2004–Present).

Previous Position: MS Orchestra Director, Ed White MS, North East ISD, San Antonio (2002–2004).

Education: Bachelor of Music, Southwest Texas State University (2002).

TMEA Offices and Positions Held: Region 12 Orchestra Chair (2009–2014), (2018–present) All-State Symphony Organizer (2010, 2012), TMEA Area Adjudicator, All-State Chairing Adjudicator and Tabulator (2002–2009) and Honor Orchestra Contest Volunteer and Participant.

Other Offices and Positions Held: Texas Orchestra Directors Association Executive Board (2011–2016).

Professional Affiliations: TMEA, TODA, TMAA, Mu Omicron.

Honors/Accomplishments: “Remember the Heroes” performance at the Pearl Harbor Memorial in Honolulu, Hawaii (2006); Churchill HS, a 20-year history of performing Children’s Concerts for local elementary school students as well as special performances for Title I elementary schools in the Texas Hill Country; Carnegie Hall performance (2010); Performed for dedication of the historic Lila Cockrell Theater following its renovation in 2011.

Personal Information: I maintain an active private studio that includes middle and high school students from the San Antonio area. I have had the privilege to serve as a TMEA Region Clinician/ Conductor across the state and enjoy working the Texas State String Camp during the summer. When I am not in the classroom, I enjoy spending time outdoors and traveling. In 2017 I completed

the Texas Water Safari ultra-marathon canoe race. When I am not teaching music or paddling, I can usually be found working on a home project.

Statement: I am honored to be nominated for the office of TMEA Vice-President and Orchestra Division State Chair. I appreciate the support and encouragement of my colleagues across the state. I believe that I can be a positive influence, strategist, and problem-solver as our orchestra division continues to move forward toward excellence in the 21st century.

During my service on the TODA Executive Board I was charged with facilitating membership growth of the organization and learned first-hand the various factors that must be considered when making decisions to benefit both members and state associations. I believe that with the expertise and cooperation of our membership, we can develop an audition procedure that meets the needs of all orchestra students in Texas.

As our programs grow, the need for orchestra directors increases. Through opportunities in the Texas Future Music Educators Chapters and with the TMEA Mentoring Network, I believe TMEA can be an encouraging and supporting organization to help increase the number of aspiring music educators and to serve as a resource for the first-year music educators. As Vice-President, I will be an active and visible advocate for both programs.

If elected, I will humbly accept the position of State Orchestra Vice-President, knowing the importance and responsibilities the position requires. I will keep an open line of communication and transparency always to seek the best way to serve our directors and students. I will continue the tradition of excellence in providing professional development and designing the best possible experience for all students in the audition process. As the Region, Area, and State auditions and TMEA Honor Orchestra

Be Part of TMEA’s Future Division Business Meetings Thursday • Feb. 14, 5:15 PM Band: Stars at Night Ballroom 1 Orchestra: CC 214 CD Vocal: CC 217 Elementary: Grand Hyatt Texas ABC College: CC 304

Region Meetings Friday • Feb. 15, 5:15 PM Locations in the online and printed schedule and in the convention app.

Southwestern Musician | January 2019 19

contests are evaluated, I will seek equity in serving the orchestra division members and students. I support and believe in the goals of TMEA and will strive to maintain its highly-respected role in music education.

Thank you for your consideration in the upcoming Orchestra Vice-President election. I look forward to seeing everyone at convention and respectfully ask for your vote!

University (2009).

TMEA Offices and Positions Held: All-State Mixed Choir Organizer (2018–present); Area F Chair (2016–present); Vocal Division Clinic and Convention Coordinator (2016–2017); Area E Chair (2014–2015); TMEA Facilities Manager (2012–13); Region 27 Vocal Chair (2006–2008); All-State Choir Section Leader (2006); Region Weekend Organizer; Region Weekend Host; Auditions host; TMEA Ways and Means Committee; TMEA Facilities Team Member.

Candidate for Vocal Vice-President: Other Offices and Positions Held: TCDA Ways and Means Committee; TCDA Hospitality Chair; Youth Choir Director, Jed Ragsdale Church of St. John the Divine; Trinity Vineyard Church Homegroup Leader and Sound Engineer (2006–present).

Professional Affiliations: TMEA, TCDA, ACDA, ATPE. Jed Ragsdale Honors/Accomplishments: TMEA Invited Performing ChoirPresent Position: Choir Director, Langham Creek HS Varsity Men’s Choir (2004); Region Choir Tomball Memorial HS, Tomball ISD Clinician; Bobcat Leadership Award, Cy-Fair HS. (August 2016–present).

Personal Information: I’m married to the most wonderful, Previous Position: Head Choir patient, and caring person in the world, Vanessa Ragsdale, and Director, Cy-Fair HS, Cy-Fair ISD I’m the father of two incredible children, Avery and Aidan. Being (2005–2016); Assistant Choir Director, balanced in both the professional life and the personal life is very Jersey Village HS, CFISD (2004–2005); important to me, for my children must feel just as important, even Assistant Choir Director, Langham Creek more so, as the students I teach. I’ve also loved being involved in HS, CFISD (1998–2004).

Trinity Vineyard Church since its beginning stages 14 years ago.

Education: Bachelor of Music, Southwestern University The church, my family, and I have grown so much during this (1998); Master of Education with Principal Certification, Lamar time.

Statement: I am incredibly honored and humbled to be nominated for position of TMEA Vocal Vice-President and Division Chair! I greatly appreciate the support of friends and colleagues from across this great state and if elected, I will continue to need your support and efforts.

During the 21 years I’ve been fortunate to work in this profession, I’ve continuously served TMEA in the All-State process and TMEA Clinic/Convention, whether it was producing practice tracks for Honor Choir, ACC Department of Music writing the sightreading exercises for preArea auditions, cleaning up water bottles and various articles of clothing after Region The Pathway to Weekend, or serving in the capacities listed above. I strive to help make things better, smoother, and more efficient, and during the process I continuously look for ways Passion to get as many people involved as possible.

Collaboration is key and makes us more proVocal & Instrumental ductive. I’m constantly on the lookout for the best answer, process, or solution, for as we all Scholarship Auditions know, there’s always room for improvement.

June 4, 2019 My motto is always “Onward and Upward.”

August 13, 2019 If honored with this position, I would work or by appointment tirelessly with Board members to find ways that enhance the educational experience for all students in the All-State and All-Region www.AlvinCollege.edu/Music process at the high school and middle school levels, respectively, making it more enticing, For more information, contact: encouraging, and inspiring for students who Dr. Kevin Moody, 281.756.3587 or kmoody@alvincollege.edu are pulled in so many different directions.

EOI

20 Southwestern Musician | January 2019

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I’m excited by the evolution of the Small School All-State Choir process, and I’ll encourage continued research development to make it even more amazing for the students who participate.

In everything, there are ideas to be shared and I shall be an eager listener and hope to facilitate dialogue among others to find how we can better reach all students, from preK to college, and assist fellow directors who may need a refresher with instructional strategies, student motivational tactics, and repertoire selection.

Lastly, I wish to motivate and engage our membership by seeking ways to provide even more opportunities to serve the organization that has given each and every one of us so much, professionally and personally, for we are the fabric of TMEA. They say it takes a village, but for this organization, it takes the strongest of teams.

I hope to help the Texas Music Educators Association not only maintain a standard of excellence in the world for choral music, but also for membership experience and leadership opportunities.

Thank you for your time and consideration and it is my sincere wish to serve TMEA in this magnificent capacity. Here’s looking forward with 2020 vision!

Candidates for Elementary Vice-President: Abigail Hawes & Katherine Johns Abigail Hawes Present Position: Elementary Music Specialist, Moore ES, Cypress-Fairbanks ISD (2004–present); Private Clarinet Instructor, Cypress-Fairbanks ISD (2002–present).

Previous Position: Private Clarinet Instructor, various Houston area school districts including Aldine, Fort Bend, Lamar Consolidated, and Wharton (1999–2002).

Education: Bachelor of Music with Teacher Certification (magna cum laude), University of Houston (2004); Master of Music in Music Education (with emphasis in Kodály studies), University of Houston (2017); Kodály Levels I–III (2008–2010).

TMEA Offices and Positions Held: Region 27 Elementary Chair (2011–present); Elementary Division Election Committee (2015); Elementary Division volunteer (2011–present); Elementary Clinician Selection Committee (2016, 2018), Elementary Performing Ensemble Selection Committee (2015–2016, 2018); Clinic Presider (2011–present).

Other Offices and Positions Held: Cypress-Fairbanks ISD Elementary Music Curriculum Revision Committee member (2018); Founding Committee member, Music and Technology Conference of Houston (2015); Planning Committee member, Music and Technology Conference of Houston (2017); Aldine ISD Children’s Music Festival invited judge (2014–present).

Professional Affiliations: TMEA, TCDA, OAKE, KET, Sigma Alpha Iota, Delta Kappa Gamma.

Honors/Accomplishments: Selected as Moore ES Spotlight Teacher of the Year (2010); Professional development clinician for Cypress-Fairbanks ISD and Alief ISD (2009–present); Supervisor for 14 music student-teachers from Texas universities (2007–pres22 Southwestern Musician | January 2019

ent); Served as mentor for numerous newly hired music teachers within Cypress-Fairbanks ISD (2007–present); Recipient of TMEA Graduate Study Scholarship (2016).

Personal Information: A native Texan, I enjoy baking, running, taking photographs, a good cup of coffee, spending time with family and friends, and I joyfully share my time and talents as a member of the St. Laurence Catholic Church Music Ministry (2004–present).

Statement: I am honored and humbled to accept this nomination for TMEA Elementary Division Vice-President. TMEA and the passionate educators who make up its membership hold a special place in my heart. I simply cannot imagine where I’d be today without the relationships, experiences, education, and support provided by our wonderful organization. Now, as I consider the opportunity to serve as your Division Vice-President, I am filled with hopeful anticipation and gratitude.

Beginning in 2011 with my election as Region 27 Elementary Chair, I have served TMEA in a wide variety of capacities, including Elementary Division office volunteer, convention clinic presider, and as a member of the election committee. In addition to these roles, I’ve also been involved in other aspects of our yearly convention through service on both the Clinic and Invited Performing Ensemble selection committees.

Furthermore, my dedication to and passion for elementary music education extends beyond these experiences as a Region Chair. This is demonstrated by my service as a clinician, mentor to both new teachers and student teachers, and through my involvement with the establishment of the Music and Technology Conference of Houston, a biennial conference presented through the combined efforts of several Houston-area TMEA Regions.

If elected, it would be my distinct privilege to give back to this organization and serve as your voice and advocate on the state executive board. By encouraging increased membership within our division, reaching out to teachers in need, and remaining open to suggestions from our members, I will further the positive initiatives of my predecessors while keeping an open mind to the needs of the present.

As TMEA approaches its 100-year anniversary, I am confident that our best days lie ahead, and that, through honoring the strong traditions of our past as well as planning and innovating for our future, the Elementary Division will continue to positively impact the lives of both educators and students across the state of Texas for years to come. With sincerest appreciation, I ask for your consideration and your vote at our upcoming convention in February.

Katherine Johns Present Position: Elementary Music Teacher, Floresville South Elementary School, Floresville (1997–present).

Previous Position: Elementary Music Teacher, Queen City Elementary School, Queen City, Texas (1996–1997).

Education: Bachelor of Music, Stephen F. Austin State University (1996); Master of Music Education, Texas State University (2001).

TMEA Offices and Positions Held: Region 12 Elementary Chair (2016-present); Mentor Area Coordinator (2015–present)

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

Wei Chen Bruce Lin

Douglas R. Boyer

Deborah Mayes

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

Choral Accompanist

Beth Bronk

Asst. Professor, Collaborative Pianist

Director of Bands bbronk@tlu.edu

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

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

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

Individual audition dates may be requested if necessary.

Instructor, Saxophone & Jazz Band

Carla McElhaney

Instructor, Double Bass

Eric Daub Director of Piano Studies edaub@tlu.edu

Eliza Jeffords

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

Scott McDonald

David Milburn

Shaaron Conoly Director of Vocal Studies sconoly@tlu.edu

SCHOLARSHIP AUDITION DATES:

Asst. Professor, Piano

Kurt Moede Instructor, Horn

Keith Robinson Instructor, Tuba & Music Education

Jill Rodriguez

Director of Strings ejeffords@tlu.edu

Instructor, General Music

Robert Mark Rogers

FACULTY

Asst. Professor, Bassoon

Mark Ackerman

Evan Sankey

Instructor, Oboe

Adam Bedell

Asst. Professor, Trombone & Euphonium

Instructor, Percussion

Shaunna Shandro

Carol Chambers

Asst. Professor, Voice

Instructor, Music Education

Eric Siu

Paula Corley

Asst. Professor, Violin

Instructor, Clarinet

Sophie Verhaeghe

Jeanne Gnecco

Instructor, Violin

Instructor, Flute

Robert Warren

Chad Ibison

Asst. Professor, Piano, General Music & Music History

Asst. Professor, Guitar

Monica Kang-Sasaki Asst. Professor, Piano; Collaborative Pianist

Lance Witty Asst. Professor, Trumpet

Elizabeth Lee Asst. Professor, Cello

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

tlu.edu/music

Other Offices and Positions Held: Kodály Educators of Texas, Vice President (2006–2010), President-Elect (2011–2012), President (2013–2014), Past President (2014–2015).

Professional Affiliations: TMEA, TCDA, OAKE, IKS. Honors/Accomplishments: Floresville ISD Elementary Teacher of the Year (2011).

Personal Information: I grew up in a family of educators, with my father being the high school band director and my mother the senior English teacher at New Braunfels HS. I attended Stephen F. Austin State in Nacogdoches and graduated in December 1996 with a music education degree. Upon graduation, I accepted a job at Queen City Elementary, a preK–fourth grade school. In July 1997, I attended Orff Level I Certification at Southern Methodist University. After a year and a half in Queen City, I moved closer to my parents and in-laws and accepted a job at Floresville Elementary School. At the time, the school included only third–sixth grades. I started an afterschool choir for fifth and sixth graders. I completed Kodály certification and Masters of Music Education at Texas State University in 2000.

At the first–second grade feeder campus, a para-professional was assigned to teach music. In an effort to establish music in the lower grades, I wrote lesson plans and taught the para-professional some basic skills to share with the children in first and second grades. After 10 years of teaching older beginners, my campus transformed into a prekindergarten–fifth grade campus. I am so happy to watch these children grow from prekindergarten to fifth grade in their music education. Currently, there are 1007 preK– fifth graders at Floresville South Elementary School. I remain the

24 Southwestern Musician | January 2019

only music teacher on my campus, and I instruct my students for 45 minutes in a six-day rotation. I love being in the same community with the same families for so many years; in fact, I am teaching children of former students. Although it makes me feel old, I love it. I often tell these parents that I am a much better teacher now than when I taught them. Every year, I look for new ways to prepare, present, and practice music concepts. In the summers, I work as the assistant program director for the Kodály Certification Program at Texas State University.

Statement: I have a unique passion for elementary music with an understanding of how it enhances secondary music education and life after graduation. The major focus for elementary music programs is to prepare future musicians for secondary band, choir and orchestra, right? Yes! However, what about the students who do not take secondary music courses and never take another music class beyond fifth grade? What are they going to leave elementary music class with? What training have we given them to enjoy high-quality music as an adult? We need to create adults who are not afraid to attend an orchestra concert, the opera, and who can sing lullabies and other songs to their children. The goal is to create adults who enjoy, appreciate and understand the basics of music even if they do not join a music ensemble beyond elementary school. I want to work with the different organizations in Texas: Orff, Kodály, and Dalcroze, and draw from their expertise in selecting headliners and presenters. I want to share my passion with my elementary colleagues and keep a strong presence in TMEA. To all my elementary colleagues, thank you for all you do for music education in the mighty state of Texas!

BAND NOTES

B Y

J O H N

C A R R O L L

Technology makes us better

F

rom time to time I hear the saying “Work better, not longer.” Band directors already put in anywhere from 8–18 hours a day. Many directors thrive on working, not because they have tunnel vision, but because they want to give their students 100% of their capabilities. It is certainly not my place to suggest what length of work day is appropriate; however, I do realize there is always a way to work more effectively. I think about the strides in technology since I began teaching. I firmly believe technology makes us better teachers, if we will avail ourselves of it. Though technology will never replace the caring, the passion, the charisma, and the calm role-modeling of a wonderful teacher (so many names come to mind as I write this), it can very well enhance the wonderful teaching that is already happening. Using technology can help you save time, be more efficient, and appeal to students of the digital age.

Think about the resources available just from a Google search. Consider how a student can get motivated by watching a YouTube video. Even as educators, we can watch marching and concert videos on YouTube, and, if nothing else, be totally inspired to carry on and do better. And it’s all at our fingertips. Students are eager to obtain any and all apps, and there is practically an unlimited number of music apps available—from a simple metronome or tuner, to many more complex applications.

Such a simple thing as a scrolling PowerPoint with announcements of the day, to a tuner projected on the classroom monitor, to basic rhythm exercises and games for beginners, to displaying those inspirational videos as students

Teachers who are making use of the advantages of technology are reaping the benefits of “working better.”

26 Southwestern Musician | January 2019

January—Renew your membership and register for the convention.

January—Purchase tickets to the President’s Concert.

January 12—Area Band and Vocal auditions.

January 22—Last day to cancel without penalty a reservation made with the TMEA housing system.

January 24—TMEA convention online early registration deadline.

January 25–February 16—Online convention registration remains available, but at a higher rate.

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

February 14, 5:15 p.m.—Band Division Business Meeting.

March 1—Honor Band entry deadline for classes 2C, 3C, 3A, 5A.

W I TH TH E WORLD â&#x20AC;&#x2122; S F I N EST D RU M CORPS

ANYTHING IS POSSIBLE! www. sta nb ur y .com

enter a classroom, to any number of other options, all make our lives a little simpler, and make our teaching a little (or a lot) better. Let’s face it—it is the technological age, and our students (and many teachers) have known nothing else. Those teachers who are making use of the advantages of technology are reaping the benefits of “working better.”

On the Wednesday before our TMEA Clinic/Convention, TI:ME Technology Institute for Music Educators will host a one-day preconference in the Grand Hyatt.

This event features clinics on technology for music educators. This preconference is part of the National TI:ME Music Technology Southwestern Conference.

This is a great opportunity for learning more about this part of our teaching technique possibilities, and it’s conveniently held just before our wonderful convention begins! However, even if this does not fit into your schedule, you’ll find more technology clinics offered throughout the convention schedule (all in the Grand Hyatt).

We should all consider just one or two ways to use technology to make our classrooms more effective, our ensembles more productive, and our students better

musicians.

I’d like to suggest you consider something that you may not be familiar with.

On Thursday of our TMEA Clinic/ Convention, from 3:15 to 5:15 p.m., in the lobby of the Stars at Night Ballrooms, the TMEA College Division hosts a Research Poster Session. This is an incredibly interesting event of the College Division.

The Research Committee of the College Division invites submissions from members in all TMEA divisions, including college students. Selected authors present their research at an informal session in which interested music teachers can learn about the research and discuss applications to music teaching. Take a moment and discover what our College Division colleagues have learned through their study of our profession.

TMEA Updates and Convention News As our convention gets closer, remember the invaluable chance we have to avail ourselves of inspiring concerts, motivational speakers, and pragmatic workshops.

Also, let’s not forget the idea of rejuvenation as we once again convene with our

colleagues from across Texas.

January 24 is the deadline for early online convention registration. After that date, you can still register online and onsite, but a higher fee will be in effect.

You may now view the entire convention schedule online. Please be certain to visit the convention exhibit hall and product showcases. I encourage you to thank our industry partners and exhibitors for their support of TMEA and music education in Texas schools. Without the help of these partners and exhibitors, this event could not exist as we know it.

I am excited to introduce our invited university ensembles for this convention.

Please add their concerts to your schedules. These university programs are providing leadership and inspiration and are setting a high standard in performance for all of us to emulate.

Baylor University Jazz Ensemble The Baylor Jazz Ensemble of the Wayne Fisher Jazz Program at Baylor University is the premier jazz group of the School of Music and consists of students from many of the university’s disciplines who share a passion for performing, composing, and

UNDENIABLE “WOW! WHAT A SOUNDSCAPE!” “...the horns TRANSFORMED our sound.”

“My students LOVE them!”

— 2018 DCI Judge

— Donald Carlson, Director, Ephrata HS

— James Densley Director of Bands, Fremont HS

The Blue Devils, 2018

TMEA

Booth #381

SYSTEMBLUE.COM @SystemBlue1 Southwestern Musician | January 2019 29

LOCATIONS Dallas • Austin • Houston Abilene • Alabama • Waco El Paso • Laredo • Ohio • Virginia Chicago • Nor Cal • So Cal

CAMP TYPES ADRIT (Advanced by Audition) PREMIER (by Recommendation) REGULAR (available at all locations) CLARINET! (Frisco, Keller & Prosper Locations) BAND DIRECTOR (Dallas, Houston)

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www.bocalmajority.com

Baylor University Jazz Ensemble

studying the uniquely American art form known as jazz.

Each concert season, the Baylor Jazz Ensemble performs a wide variety of material, ranging from the classic compositions of the Swing era to the cutting-edge works of todayâ&#x20AC;&#x2122;s most talented composers and arrangers.

The ensemble is under the direction of Alex Parker, director of the Wayne Fisher Jazz Program. In addition to leading the Jazz Ensemble, Parker also directs the Concert Jazz Ensemble, jazz combos, and teaches undergraduate and graduate students in several areas of jazz study and research.

The Baylor Jazz Ensemble maintains an international presence through a biennial mission trip and concert tour. The most recent excursion took the ensemble to Greece in 2017, where it performed at eight venues. This summer the band will travel to Peru.

Each year, the Wayne Fisher Jazz Program hosts world-renowned artists and composers. These musicians give clinics and master classes and perform with the students and ensembles. Notable guest artists include Maria Schneider, Kenny Barron, Rufus Reid, Terell Stafford, Peter Erskine, Ingrid Jenson, Wycliffe Gordon, Jon Faddis, Sean Jones, Bob Mintzer, Fred Sturm, New York Voices, Chris Potter, and Benny Golson, among others.

The Baylor Jazz Ensemble performance at the TMEA convention will feature guest trumpeter, composer, and educator Sean Jones.

Texas A&M University-Kingsville Wind Symphony Comprising 60 talented musicians from South Texas, the Wind Symphony is the premier concert band at Texas A&M University-Kingsville. Directed by Scott Anthony Jones, the Wind Symphony maintains a highly active annual performance schedule and regular collaborations with composers and serves as host ensemble

to the winners of the music department Concerto and Conducting Competitions.

The ensemble is also committed to serving the region through concert tours, clinics, and its High School Invitational Concert series. In just the past five years, the Wind Symphony has performed off campus for nearly 40 public schools and more than 10,000 students, educators, and families.

This distinguished ensemble has

Southwestern Musician | January 2019 31

been recognized for its outstanding performances at TMEA conventions in 1993, 2001, 2006, and 2010 and at the 2002 College Band Directors National Association Southwest Division Conference. In recent years, the ensemble has established a tradition of commissioning new works by composers such as Joseph Schwantner, Frank Ticheli, James Syler, and Zhou Tian. Most recently, the Wind Symphony led the 2017 commission of Jess Langston Turner’s Nothing to Fear, Nothing to Doubt, through a consortium of 17 high school and university wind ensembles from across the nation.

The ensemble will premiere Zhou Tian’s Seeker’s Scherzo, from the Grammynominated Concerto for Orchestra, at their 2019 TMEA convention performance.

Texas State University Wind Symphony The Texas State University Wind Symphony includes the most outstanding wind and percussion musicians at the university as selected by audition. Conducted

by Director of Bands Caroline Beatty, the ensemble provides students and audiences with compelling performances of the finest repertoire. While celebrating the traditional and core repertoire of the wind band, the Texas State Wind Symphony is also involved in commissioning projects and premieres of newly minted compositions for the medium. Recent premiere performances include Michael Ippolito’s Machine Become Music, Michael Daugherty’s War and Peace, Carter Pann’s High Songs, Alexandra Gardner’s Perseids, Robert Beaser’s The End of Knowing, Margaret Brouwer’s Pulse, Ryan Chase’s Bad Voodoo, and David Maslanka’s Symphony No. 9. The ensemble actively collaborates with composers and performers through residencies and recording projects including events with Ron Ulen, Margaret Rose-Kern, Karla Hamelin, Margaret Brouwer, John Mackey, David Maslanka, Merlin Patterson, Steven Bryant, Jonathan Newman, David Heckendorn, and Daniel Montoya.

Over the years, the Texas State Wind Symphony has been selected to perform at numerous regional and national events held by the College Band Directors National Association, Texas Music Educators Association, College Music Society, and Music Educators National Conference.

32 Southwestern Musician | January 2019

Texas A&M University Wind Symphony The Wind Symphony is the premier concert organization in the Texas A&M University band department.

Approximately 1,000 students participate in the band program each academic year, with wind symphony membership chosen through a competitive audition process open to the current TAMU student body of 68,000.

Timothy Rhea, Director of Bands & Music Activities at Texas A&M University and Past-President of the American Bandmasters Association, has conducted the wind symphony since 1993. During Rhea’s tenure at Texas A&M University, the wind symphony has given numerous notable performances for Texas Music Educators Association, the College Band Directors National Association, the American Bandmasters Association, the Midwest International Band & Orchestra Clinic, the Western International Band Clinic, and Carnegie Hall, as well as five concert tours to Europe.

The programming of the wind symphony ranges from early small ensemble works to the most recent 21st-century

composition for large ensemble. Concerts feature a balance of standard literature, contemporary works, selected quality transcriptions, and marches. The yearly exposure of the ensemble to guest conductors and composers is a key focus of the total musical experience. The wind symphony has released over 20 recordings internationally with Mark Records.

For their upcoming TMEA convention performance, the wind symphony will perform a new commissioned work by Texas composer Donald Grantham.

University of North Texas Wind Symphony Internationally acknowledged as one of the premier ensembles of its kind, the North Texas Wind Symphony, under the direction of Eugene Corporon, is selected from the most outstanding musicians attending the College of Music. The Wind Symphony has been highly acclaimed for “wonderful and artistically rendered performances which are elegant and polished” and complimented for “terrific ensemble skills which embody a high degree of integrity and sensitivity.” They have been praised for “stunning and inspi-

rational recordings” and for being an ensemble whose “enriching performances demonstrate their sheer joy of musicing.”

Recognized for “admirable and adventurous programming, which personifies diversity and originality,” the group demonstrates a relentless commitment to American music. They have been called “an ensemble which is simply sensational, full of bristling energy, made up of players with a headlong, in-your-face virtuosity who play with an irresistible intensity and a dynamism that makes you want to leap out of your chair applauding at the Coda.”

Most recently they have been lauded “as a group in a class all its own that has the ability to handle complex materials with aplomb, to glitter and dazzle, and to drive with manic energy.” Heralded as “one of the world’s best, having distinguished themselves again and again,” the North Texas Wind Symphony pursues the highest professional standards and is determined to bring its audiences exemplary performances of repertoire from all musical periods, cultures, and styles. Artistically, they continually strive to be right where innovation and progress meet legacy and tradition.

What’s missing?!

Canadian Brass Mouthpieces will reappear at TMEA. Find us at Booth No. 381

Canadian Brass Mouthpieces Designed by Performers & Distributed by B.A.C. Musical Instruments

34 Southwestern Musician | January 2019

Texas A&M University-Kingsville Wind Symphony

Texas State University Wind Symphony

Texas A&M University Wind Symphony

University of North Texas Wind Symphony Southwestern Musician | January 2019 35

PE R FOR MAN C E PA S S I O N PRIDE

ADMISSION & SCHOLARSHIP AUDITION DATES: FEBRUARY 23, 2019 MARCH 9, 2019 MARCH 16, 2019 Auditions are required of all entering and transferring music majors.

Additional dates upon request.

DEPARTMENT OF MUSIC BACHELOR’S AND MASTER’S DEGREES IN MUSIC EMPHASIZING MUSIC EDUCATION OR PERFORMANCE

tamuc.edu/music | 903-886-5303 Follow us on Facebook: TAMUCMUSIC TAMUCBANDS TAMUCVOCALDIVISION

2019 TMEA Clinic/Convention February 13–16 • Henry B. Gonzalez Convention Center • San Antonio

Important Deadlines Near January 22

January 24

• Last day to cancel a reservation made through the TMEA housing system without being assessed a $50 penalty.

Last day to register online at the lower rate! Don’t miss this opportunity to pay less to attend the premier music educators convention in the nation! After this date, online registration continues, but at the higher rate.

• Last day to make a reservation with most hotels via the TMEA housing system (some may continue to be available, but the listing will be limited).

• Last day to modify a reservation made through the TMEA housing system. After that, contact the hotel directly (wait several days, as there is a delay in the hotels downloading their reservation data).

January 24 If you opt in to have your online personal schedule transferred to your convention app account, the schedule you have saved on January 24 will be transferred. Save your schedule by this date!

ATTEND THE BEST MUSIC EDUCATORS CONVENTION!

President’s Concert Feb. 13 • 8 p.m. • Lila Cockrell Theater • $20 tickets Pick up purchased tickets February 13, 1–7 p.m., at the Information Booth.

Almost sold out! Purchase when you register, or if you already have, return to your member record to purchase.

Create an Online Schedule The searchable convention schedule is available online at www.tmea.org/convention.

Create a personal schedule online to help you organize your time and to begin the process for creating your official CPE record. You can save, edit, and print your online schedule. If you opt in, the schedule you have saved on January 24 will be transferred to your convention app account (available in early February).

SEE YOU IN SAN ANTONIO! Southwestern Musician | January 2019 37

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How Will You Encourage

Our Future Teachers?

by Peter Warshaw

I

think most of us would agree that our students face vastly different challenges than we experienced when in their place. The list of differences is much too long to offer here, especially for those of us who were alive when rotary phones were the norm, when we were limited to two or three TV channels that shut down at midnight with the playing of the national anthem and a test pattern. Our teachers likely operated from a completely different mindset than we do today.

Many of us had one or more mentors as we progressed through our respective music programs, and it is likely their influence that led us to become directors ourselves. One of the lasting imprints left by a Dr. Tim Lautzenheiser session I recently attended was when he asked students in attendance to close their eyes and picture the face of the person who inspired them to want to pursue a career in music education. Then he asked them to visualize 20 years in the future when a student sitting in a similar session will be asked the same question and will be picturing them!

This is one of the things that has caused me to reflect on the continued need to recruit our students to become music educators. We are in the enviable position of having significant influence on how our students respond to music and the potential to guide them in appropriate directions to make the most well-informed choices in their life. If a student approaches you to ask whether

they should major in music and become a music educator, your response can play a huge part in their decision to take those first steps down that career path.

When we look at the growing enrollments in Texas Future Music Educators chapters and the many applicants who annually visit TMEAâ&#x20AC;&#x2122;s Job Fair, it would appear a multitude of potential music educators are readily available. However, a disparate proportion of applicants are looking for band director positions, while we have experienced a decline in the number of applicants for choir, orchestra, and elementary music positions.

As any longtime educator knows, and especially those in music education, students are bombarded with career options. Even for those who are interested in a career in music education, other options can appear to be attractive alternatives. It seems almost as if the reasons to pursue a teaching career are outweighed by the reasons not to do so. I believe it is ultimately up to us, their teachers and mentors, to fill the vital role of recruiter, role model, and informative resource to continue the legacy of outstanding music education in our state.

What kind of student should be encouraged to pursue music education?

First and foremost, any student who wants to be a music

As the primary reason students either enjoy being in our organizations or donâ&#x20AC;&#x2122;t, we can also be a guiding force behind their decision to pursue a career in music education.

Southwestern Musician | January 2019 39

educator must be a good musician! They must be willing to spend time developing their craft as an instrumentalist or vocalist so they have an artistic base from which they can push their future students to the highest possible outcomes. This means continued practicing and performing, studying, and becoming invested in continually improving as a musician, teacher, and human being.

We cannot successfully motivate our students to do their best if we aren’t willing to seek those outcomes ourselves.

One of my lasting memories of my father, who had a 39-year career as a surgeon, is watching him read medical journals every night after dinner to stay current in his field. As music educators, we have similar opportunities to continue our education through attending clinics, workshops, and conventions such as TMEA’s or the Midwest Clinic, as well as engaging in informal conversations with our peers.

Reflective Question: What do you do to encourage musical and artistic growth from your students and guide their improvement as musicians?

Next, these students must be sincerely enthusiastic about their chosen career path. They must love being around students and want to continually look for ways to help them improve. They must guide their students the same way they approached learning how to sing or play their chosen instrument—with an eye on what they can do now and a focus toward what they need to know for the future.

They must understand that anything of value takes time and effort. In the same way that they weren’t playing solo etudes or giving recitals at the end of the first six weeks, they must understand

that their growth as a successful music educator requires patience, diligence, and experience—and there are no shortcuts!

Finally, this student must be someone who has demonstrated a thorough commitment to their program. Just as they persisted in learning to become the best instrumentalist or vocalist they can be, arrived early and stayed late for rehearsals, and served the program as a student leader, they will need this perseverance to overcome the barriers along the way and to deal with the realization that we all had on our first day of teaching—that we don’t know nearly enough!

Reflective Questions: Do you model this type of behavior with your students? Do you communicate enthusiasm about learning when you are around them? Do you communicate appreciation for their dedication?

What can you do to assist a student who you believe can become a music educator?

As I wrote above, our role is crucial. Our words and actions must serve to encourage our students to feel comfortable speaking with us, as well as listening to what we say. It starts with how we conduct ourselves in front of our school community. As tempting as it can be to vent about the daily difficulties we face, this cannot be a part of conversations we have in public or posts we share on social media. Our students and parents who are observant and appreciative already know the demands of our work. I remember one of our band parents looking at me once and saying, “I could never do what you do.” That told me plenty about how much they appreciated us and valued what we provided for their children.

Southwestern Musician | January 2019 41

Reflective Questions: What kind of model are you to your students and community in this area? Do you talk about the positive aspects of your job, or do you publicly complain about the time demands or low salary?

In my role as a fine arts administrator, I often encounter adults who will say they can’t sing (or draw, or dance). The truth is that almost all of us grew up singing, drawing, or dancing as part of a typical childhood. We continued until someone made a value judgement about us or the quality of our voice, artwork, or moves.

At that point, we followed normal human behavior and withdrew into ourselves to avoid further embarrassment and adopted the position of “I can’t.”

Whenever I speak to a group of young directors or aspiring music teachers, I often ask for a show of hands to let me know when they made the decision to become a music educator. There are always some who made the decision in middle school, and I commend them for staying the course to pursue their dream. The greater number of hands go up when I ask

for those who made the decision in high school or later. I am then left wondering how many more music educators could have been in the room if, when they were in middle school, an adult hadn’t decided they weren’t cut out for the high school program and allowed them to become disinterested and drop out.

Reflective Questions: Have you ever seen a student succeed who you thought wouldn’t? If so, how will you recognize the next one, and what will you do differently?

Be an effective resource for your students who aspire to be music educators.

Know their options and help them discover the information needed to make a calculated decision about the right schools they could attend, the best teacher for them, or the schools with the best outcomes for their graduates. While we can’t know all the answers, we can provide them with a set of questions they will need to research to make the best decision possible.

Reflective Questions: Do you know the private teachers at your state universities? Do you know which schools actively provide a well-rounded music education

program for their students as compared to a conservatory approach?

Remember that we never stop being a mentor to our students. As we are the primary reason why our students either enjoy being in our organizations or don’t, we can also be a guiding force behind their decision to pursue a career in music education.

I’ll leave you with one last bit of perspective. One of the questions we ask those who are applying for a position in Leander ISD is “Why do you want to be a music educator?” Frequently, this is their response: “I had a wonderful experience in our music program, and I want to pass that along to my own students.” However, I occasionally hear this response: “My experience in our music program was awful, and I want to make sure that no other student has the same experience that I did.”

When it’s your former students who are applying for jobs, which response do you want to come from them?

Peter Warshaw is Leander ISD Fine Arts Director.

I D Y L L W I L D A R T S S U M M E R P R O G R A M

2019 Classical, Jazz, and Vocal Music Programs

Register Now! 951-468-7265 • summer@idyllwildarts.org idyllwildarts.org/summer 42 Southwestern Musician | January 2019

When Did You Know You Would Teach?

TMEA members answered the following questions about their decision to become a music teacher. Also read some responses about how members encourage students they believe would be good music teachers.

When did you decide you wanted to be a music teacher?

• Be supportive and show students what a good music teacher looks like. Just being there for them and believing in them can give them the courage to go further!

Elementary 5% School Middle School

15%

• As an elementary teacher, my goal is to establish a general love and passion to be part of some sort of musical ensemble. I provide experiences that immerse students in orchestra, concert band, jazz band, opera, choir, theater arts, and more. My goal is to create that foundation that others after me can build upon.

47%

High School 22%

College After working another job

8%

Other

3%

0%

10% 20% 30% 40% 50% 60%

Classroom/ ensemble teacher

• Promote in-depth participation in ensembles, provide extra opportunities, including leadership and conducting, and offer as many chances as possible to participate in non-school activities associated with our craft.

50% 8%

2%

Music-making itself Other

27% 7%

0%

10% 20% 30% 40% 50% 60%

Survey takers who answered “Classroom/Ensemble Teacher” as most influential also answered this question:

In what way did your music teacher influence you to want to teach?

Their passion/ how they taught

57%

Their personal interest/ encouragement I wanted to offer others a better experience than I had

31%

7%

Other 5% 0%

• I tell them to follow their heart. I did not do that (thanks to self-esteem issues and the typical “You’ll never make any money doing that” advice). It took me decades to fully realize what a terrible mistake I had made.

• I believe you don’t have to encourage students. They either fall in love with the music-making process or they don’t. However, when students seek me out to discuss a possible music-related career choice, I’m as honest as possible, discussing the good and the very few bad aspects with them.

Family member 6% Friend

• Be available. Talk about the profession in class. Show parents how you can make a living as a music educator. Assist students with college applications and scholarship audition processes.

• Say things like “Wow, you would be great at this!” or “You know, I could see you doing this.” Kids often just need to hear it from someone in the profession before they’ll consider becoming an educator themselves.

What was most influential in your career decision?

Private lesson teacher

How do you encourage students who you believe would be good music teachers to consider the profession?

10% 20% 30% 40% 50% 60%

• Encourage students to try anything in music that interests them—an additional instrument, choir, band, and as many as they want to try that they can manage. Often the student who is interested in a variety of music is one who would make a good music teacher.

• I try to be honest. I tell them teaching is hard work but that it is a calling, and one that takes special people to make a difference in young people’s lives. Though rewards may not come as often as we might like, the joy of seeing a student succeed in becoming a better performer, a better artist, a better human is a feeling that cannot be replicated in any other job.

• I try not to push students in any particular direction when it comes to future careers. I just want to make sure they have fun while they grow as musicians. If they happen to decide to teach music, that’s even better.

• I speak with them at the start of their junior year about the possibility of music education. We research university music programs to learn about their requirements. By their senior year, I help students fill out their music auditions for universities, and I accompany them to their auditions if they are nearby.

• I always encourage those who are passionate about music and education to consider the career by being honest with them! The life of a music major is a very time-consuming and a difficult one compared to others. Although the journey is long and arduous, at the end of the day, there is no career more fulfilling than teaching an art as beautiful and universal as music to future generations.

Southwestern Musician | January 2019 43

Join Us at TMEA 2019!

Showcase Session:

“The Basics of Bornoff” Thursday, 10:00 - 11:00

Exhibit Hall Booth #2855 Raffle Prizes Summer Workshop Information FREE BOOK “Viva la Viola”

www.fase.org 44 Southwestern Musician | January 2019

“I am all smiles!

My beginning students have the best tone I’ve ever heard in my classroom and my eighth-graders have a much better understanding of bow division, staccato, and spiccato. I’m having a great time with this new approach to my teaching!”

~ Orchestra Director of 35 Years

B Y

B R I A N

C O A T N E Y

ORCHESTRA NOTES

Find your why

H

January—Renew your membership and register for the convention.

January—Purchase tickets to the President’s Concert.

January 22—Last day to cancel without penalty a reservation made with the TMEA housing system.

January 24—TMEA convention online early registration deadline.

January 25–February 16—Online convention registration remains available, but at a higher rate.

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

February 14, 5:15 p.m.—Orchestra Division Business Meeting.

appy New Year! I hope you had a great close to the semester and are looking forward to a fantastic semester ahead. Hopefully you have made all necessary plans to attend our annual convention in February. We have highly educational clinics and inspirational concerts scheduled. Make sure you attend the Orchestra Division Meeting, as we have important business to discuss as well as an election for the next Orchestra Vice-President and Division Chair. Every vote counts and we need you there!

Also, remember that all eligible TMEA members (even those not attending the convention) can and should vote in the online general election for our new TMEA President-Elect.

I was doing my annual purge of files and notes when I came across a link to Simon Sinek’s fascinating TEDx talk “Finding Your Why.” He opens the talk explaining how great leaders move people to achieve greatness. He discovered that all great leaders think, act, and communicate in the same way, and it’s the opposite of everyone else. Most people know what they are doing and how to do it, but they rarely understand the why or the purpose of their work. They don’t understand the leader’s vision. Another way to think of this idea is that most people don’t see the big picture. This may be due to several reasons: the vision or purpose has not been shown or explained to them, they only want to do their own job and don’t care how their work affects the big picture, or they don’t fully understand what the big picture, purpose, or vision is and how their

Students must believe in you and the why, or vision, for the program.

Southwestern Musician | January 2019 45

work fits in. Sinek explains the big picture as a “golden circle” illustrated here:

Why How

Plano Senior Orchestra’s mission statement is “Through music, we inspire and move our audiences.” How we inspire our audiences is by constantly learning about music and rehearsing efficiently and effectively. What we do is work on our individual and ensemble technique every day.

Biology says that the why is what drives our decisions. Have you ever been faced with making a decision and based on all the facts and figures in front of you, thought you knew what the decision should be, but it just didn’t feel right? A gut feeling was telling you that something about the deci-

sion was not right. Sinek explains that we must believe in what we are doing to trust our decision is correct. I have learned that if our students understand and believe in the why, they will be motivated, individually and as an ensemble, to successfully complete what I ask of them.

I encourage you to discover your why and put it into words—to become your mission statement. Make sure it is tangible, or your students will not be able to follow. Students must believe in you and the why, or vision, for the program. This will hopefully lead to the students holding

What Most organizations work from the outer circle to the inner circle. Team members often know what they are doing, and some know and understand the how, but ineffective teams do not understand the why.

These team members lack passion and have no buy-in to the leader’s vision. Great leaders motivate their team by conveying the why. Sinek asks questions that all leaders should be able to answer and convey to their teams: What’s your purpose? What’s your cause? What’s your belief?

Successful organizations and companies state the why, or purpose of the organization, in the form of a mission statement.

We can use this same philosophy teaching orchestra because we are the managers and leaders of our organization. I have witnessed several rehearsals where students knew what they were doing, some knew and understood the how, but few knew the why. Do your students fully understand why they are spending hours on scales and exercises? Do they fully understand why you continue to drill the same five measures in a piece of music for weeks on end?

I think that in most programs, the teacher guides and the students blindly follow not fully understanding why they do or attempt to do what the teacher says and asks.

Orchestra Division Business Meeting

2019

The Pursuit of Excellence

NOVEMBER 17, 2018 ALL INSTRUMENTS JANUARY 26, 2019 VOICE & ALL INSTRUMENTS

(WITH THE EXCEPTION OF GUITAR & PIANO)

FEBRUARY 9, 2019 VOICE & ALL INSTRUMENTS

(WITH THE EXCEPTION OF GUITAR & PERCUSSION)

MARCH 2, 2019 ALL INSTRUMENTS APRIL 5, 2019 VOICE ONLY

SCHOOL OF MUSIC

Thursday, February 14 5:15 PM / CC 214 CD

SAM HOUSTON STATE UNIVERSITY

1751 Avenue I, Suite 225 Huntsville, TX 77340 936-294-1360

WWW.SHSU.EDU/ACADEMICS/MUSIC

MEMBER THE TEXAS STATE UNIVERSITY SYSTEM ™

Southwestern Musician | January 2019 47

Texas A&M University-Kingsville Department of Music

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New Music Building Opening Fall 2019

Master of Music in Music Education Instrumental, Vocal or Elementary

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Designed for the active teacher to complete over three summer semesters

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Contact Dr. Melinda Brou, Graduate Coordinator, at 361-593-2824 or Melinda.Brou@tamuk.edu

www.tamuk.edu/music

themselves accountable for achieving the program’s why. Sinek concludes by explaining that there are those who simply lead and there are great leaders. Which one are you? Leaders hold a position of power or authority. The great leaders inspire us.

We follow the great leaders not because we must, but because we want to. Good luck in finding your why and remember to always keep it in mind as you prepare your students for upcoming performances.

TMEA Clinic/Convention Update I hope you have registered for the convention and made your hotel reservation.

If not, be sure to do that now so that you enjoy a smooth registration process and have a place to stay (go to www.tmea.org/ convention). You can now view the full convention schedule online and create a personal schedule that you can save and edit (www.tmea.org/2019schedule). You can also opt in to have that schedule transferred to your mobile app account (your personal schedule saved as of January 24 will be transferred to your Guidebook account).

This month I’m pleased to feature our HS String Honor Orchestra (our other three Honor Orchestras were featured in the November issue). Congratulations to all finalists and to Plano West Senior HS Chamber Orchestra under the direction of Ryan Ross and Amy Gross. Make sure you attend our Honor Orchestras performances in February.

HS String Honor Orchestra Plano West Senior HS Chamber Orchestra The Plano West Orchestra is proud to be recognized as one of the most accomplished orchestra programs in America.

Plano West is a grade 11–12 campus in Plano, a Dallas suburb. The orchestra program currently serves approximately

HS String Honor Orchestra Results Congratulations to the following orchestras and their directors for this outstanding accomplishment: Rank School

ISD

Director

1

Plano West SHS

Plano ISD

Ryan Ross, Amy Gross

2

Clear Lake HS

Clear Creek ISD

Bryan Buffaloe, Kevin Black

3

Seven Lakes HS

Katy ISD

Desiree Overree

4

Allen HS

Allen ISD

David DeVoto, Matt Cross

5

Austin HS

Fort Bend ISD

Ann Victor

6

Reedy HS

Frisco ISD

Aryc Lane, Rachel Kim, Jennifer Betzer

7

Plano East HS

Plano ISD

Ann Smith

8

Hebron HS

Lewisville ISD

Matthew Cautivar

9

Jasper HS

Plano ISD

Matthew Moreno

10

Westwood HS

Round Rock ISD Joshua Thompson

11

Taylor HS

Katy ISD

Clinton Capshaw, Tiffany Webb

12

Marcus HS

Lewisville ISD

Allison Washler

13

McCallum HS

Austin ISD

Ricky Pringle

250 students in six orchestras. Since its inception, Plano West has been selected as the TMEA String Honor Orchestra seven times, most recently in 2016, and in 2018 they celebrated their first opportunity to perform as the TMEA HS Full Honor Orchestra. Nationally, it has twice been recognized as an invited orchestra at the Midwest Clinic, and they have also been named a National Winner in the Mark of Excellence National Orchestra Honors (string and full orchestra) and the American Prize. The program routinely earns UIL Sweepstakes awards.

Plano West SH is fed by Jasper HS and Shepton HS, which are in turn fed by Robinson, Rice, Frankford, and Renner middle schools. Plano West Orchestra’s

success is rooted in the excellent instruction at these feeder schools, each of which have garnered significant recognition.

Plano West is proud of the academic rigor in its course offerings. The class of 2018 had 75 National Merit Finalists, and Newsweek recently listed the school among the top 1% in the nation.

Jo Wallace-Abbie was the first head director of Plano West, and it was under her leadership that it became an orchestra program known and respected across Texas. After her retirement, Ryan Ross assumed his current position with the program. For many years, Associate Director Amy Gross has been vital in helping the program grow and thrive.

Plano West Senior HS Chamber Orchestra Southwestern Musician | January 2019 49

Ingredients for Success in an Urban or Title I School

by Scott McAdow Editor’s Note: While the strategies communicated in this article are essential for success in an urban or Title I school, they also are best practices for any successful music program.

T

eaching public school music in an urban or Title I school can be challenging—even overwhelming. However, it’s not just possible to develop a successful program in this setting, it can also be most rewarding for all involved, especially when you see the evidence that music is changing your students’ lives for the better!

A great band, choir, or orchestra program requires a critical balance of certain concepts and ingredients—a true recipe for success. When teaching in a Title I setting, be willing to think creatively to discover the most effective ingredients, and be sure you maintain a healthy balance of those ingredients. Many music directors lose sight of this, thus not keeping track of the big picture. As you think about how success can be achieved in your program, consider how the following ingredients could work for you: Developing Relationships Music educators must nurture their relationships with their students. Attend your students’ other school events. Be a bigger part of the school by volunteering to help with non-music events.

Get to know your students and show your interest in who they are beyond musicians. Greet and welcome them at the door daily.

Host social events and participate! Be a good listener. As I’ve heard 50 Southwestern Musician | January 2019

Richard Floyd and others state, “Kids don’t care how much you know until they know how much you care!”

Because many Title I students come from challenging home environments, you must first gain their trust—rarely an easy task.

Our programs can be the most structured, supportive environments they experience. Given that, some students may exhibit behavior issues until your trust is earned. Always be honest and never patronize your students. Show students respect, even when they are rude to you. Also remember that limited financial resources are not the fault of any student.

At the high school level, support relationships between older and younger students (e.g., create a buddy system between freshmen students and older leadership). This benefits all students and can serve as an effective recruiting tool.

Make it a priority to develop relationships with the parents of your students. Create opportunities to meet parents, starting with beginner drives. Get help from other directors or private instructors for instrument placement testing so you can spend that time meeting and greeting parents of potential students. Treat all parents with respect, and be consistent with student discipline and your program calendar (avoid any last-minute changes).

Effective Communications Effective parent communication is an important ingredient when developing a music program in a Title I setting. Prevent problems by practicing good communication skills. Use the rule that if a parent makes any kind of contact with you, their email

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or call must be returned within 24 hours.

Same-day contact is best.

Solve serious parent concerns with a phone call or conference. Emails can be impersonal and leave the wrong impression. When speaking with parents about their child, always find something positive to say! Regardless of the offense, that student is the parent’s child! Create an atmosphere of openness, encouraging the parent to have a more receptive attitude toward helping correct their child’s behavior issues.

Show parents your respect by keeping written communications clear and concise. For letters you send home, include the message in the languages spoken by your students’ parents (if you need it, get help from colleagues or students to ensure proper translations). Require both student and parent printed names and signatures on these communications, and keep track of whether students returned the signature portion of the letter.

Repertoire Choice Selecting music has a great impact on any music program! Program music that both challenges and satisfies and that students and parents will enjoy. Regardless of the grade or skill level you teach, remember that the music you teach your students should be within their reach yet challenge them. When you program music that students are excited about, they will urge friends and parents to attend! On our holiday concert we often presented ’Twas the Night Before Christmas. A favorite school teacher would be the narrator, and we

invited the siblings and friends of our students to come to the stage to listen to the narration. Families love holiday traditions, and that selection resulted in a larger concert attendance.

Music Instruction Your music program, especially in a Title I setting, will grow and retain a high percentage of members when students receive quality musical instruction.

Teaching every child in your program to play or sing well must always be a top priority. Therefore, with limited funds, compare

Advocate for Your Program You must sell your program! Make it clear to students, parents, administration, and the community why participating in a music program is important. You must be your own advocate. At a Title I campus, this is extremely important given the sacrifices parents will make for their child to participate fully. Showcase individual and collective successes and achievements; display awards around the school, at concerts, and at beginner drives.

Successful concerts are often the best way to sell your program. Being wellprepared and having good attendance will make your students feel proud about their membership. Remember the old show business motto: leave them wanting more!

Be organized and efficient so setup changes are fast and minimal. Our average concert length with four bands was just over an hour. Create a script for your comments to ensure your presentation during the concert is effective. Strive to have a large concert audience! Send a concert invitation letter home with required parent signature. Create awards to fit the recognition your students have earned, such as most improved, spirit, leadership. Be particular about uniform appearance! Make concert programs attractive, easy to read, and a showcase of student achievement.

Southwestern Musician | January 2019 53

h t i w

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the value of a few students receiving private lesson scholarships to full group instruction by area master teachers. Utilize a master teacher or high-quality private teacher to teach your staff as well. Since private lessons might not exist or be utilized only by a limited number of students, you and your staff must be capable of teaching all voice or instrument fundamentals at the middle and high school levels.

Students who feel successful stay in music! Make it a priority to start your beginners correctly so no reteaching is needed. When beginning instrumental students are set up accurately, learning additional skills will be easier, leading to more frequent feelings of success. At the high school level, the relationship between success and retention applies as well, so you must be diligent and proficient when correcting bad playing habits (especially with transfer students).

The middle and high school head directors have the responsibility of overseeing the successful instruction of playing fundamentals and students’ continuing musical development.

Even with limited resources, it must be a priority that all students play on reliable, high-quality musical instruments in good working condition. Do everything possible to convince parents not to purchase instruments via the Internet so that there is an opportunity to inspect before purchase.

Seek out grants through corporations, area churches, and your school district. Appeal to your school’s faculty to donate old family instruments or to sponsor a student.

Buy instruments from former students who no longer play. Work with rental stores to modify their rental packages to lower the price, removing some accessories if possible. Stress to parents the advantages of renting or buying through a reputable music store so the instrument will be in good working condition. Emphasize that used instruments not acquired through a reputable music store need to be brought to the director for evaluation.

Student Recruitment and Retention Particularly in a Title I setting, you must recruit and maintain membership effectively. If you are unable to take your performing ensemble to the elementary schools, host a fifth-grade night and advertise it! Play or sing something short and exciting and provide an attractive hand-

out. Make a concise and well-organized presentation, emphasizing how cool it is to be in a music organization. If allowed, create a recruiting video to show. At the beginner drive, take pictures of new music students with their selected instruments

and display them on a poster in each feeder elementary school. Provide each student a copy of their picture as well. This helps them stay excited about band over the summer.

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Southwestern Musician | January 2019 55

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music students of all grade levels! Make trips affordable by setting up payment plans. Trips can positively expose students to things they’ve never seen before. Have a required parent/student trip meeting for overnight trips. Even if it is possible for only your top performing group to make the out-of-town trip, this can still be a great motivator for the entire program.

Administrator Support While always important, in a Title I setting, administrative support is critical. It is your job to cultivate a positive relationship with your school administrators. If you work with a supportive administrator, like the principal who visited our classroom on a regular basis, you are fortunate—be sure you acknowledge their support regularly.

Carefully plan communication to help ensure a positive reception by your administrator. Written communication should be succinct, grammatically correct, organized, and positive in nature. Include justification that is fact-based—real data speaks! Clearly state the benefits for the students and the entire school.

For in-person conversations, find the right time that won’t compromise your

administrator’s schedule (such as lunch or hall duty), knowing that appointments are preferred. When possible, avoid the busy times of the school year that are overwhelming for administrators (first and final weeks of school, standardized testing periods, etc.). Plan what you will say and bring notes! Estimate how long you plan to meet and provide the duration when you request the appointment. Do not meet with an administrator when you are extremely upset or emotional, as you are likely to say something you will eventually regret. Start your meeting by thanking the administrator for their support.

Invite administrators to observe specific classes. Show off that smooth-running beginner class where the students are achieving great things! This will be particularly effective if that class includes students known to exhibit discipline issues in other classes!

Changing Lives for the Better As you teach students to love music and help them experience success as young musicians, if guided carefully, they will gradually learn to show you respect.

Understand that many beginners, especially for Title I, join a music program for a reason other than developing musicianship. Very likely, it’s because their friends joined or the trips sounded fun. Work diligently to build rapport with every student in your program, and remember that music changes their lives for the better!

Scott McAdow served 39 years as a Texas public school band director. He currently supervises instrumental music student teachers for the University of Houston, is music director for Advent Lutheran Church in Houston, and is active across the state of Texas as a consultant and clinician.

Urban Music Education Clinics at the TMEA Convention Go to page 11 to review a list of clinics on this topic that will be presented during the 2019 TMEA Clinic/Convention.

Southwestern Musician | January 2019 57

VOCAL NOTES

B Y

D E R R I C K

B R O O K I N S

In Memoriam John Eugene McKinley October 9, 1937–November 30, 2018

The most wonderful time of the year

I

hope 2019 has welcomed in a new and bright perspective for each of you. We are roughly a month away from the annual convention of the Texas Music Educators Association in San Antonio. This time of year fills me with hope for so many reasons. I think about the new teacher who is in the middle of their first year, wondering whether they have the tenacity to hold on and prepare for the next five months. I think about the more experienced teacher, still recovering from an exhausting holiday performance schedule, selecting proven repertoire for UIL evaluation, and secretly wondering whether anyone even notices their hard work or if anyone even cares. I think about our retired colleagues who are still giving clinics and workshops, adjudicating, and mentoring young choral educators—never giving up on the fight for excellence in music education throughout our state. What is a common denominator among these three types of educators? TMEA! Why is preparing for our state convention the most important time of the year? It’s important that once a year we take a moment from our hectic teaching schedules to stop and reunite 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 the saying goes: you get out of it what you put into it. If I may offer some advice as all prepare for convention—take full advantage of this amazing opportunity offered to you. My travels across the country as a choral clinician or with my choirs have taught

When the teacher is restored, rejuvenated, and motivated, the effects transfer to their students directly and positively, affecting their learning.

58 Southwestern Musician | January 2019

January—Renew your membership and register for the convention.

January—Purchase tickets to the President’s Concert.

January 12—Area Vocal and Band auditions.

January 22—Last day to cancel without penalty a reservation made with the TMEA housing system.

January 24—TMEA convention online early registration deadline.

January 25–February 16—Online convention registration remains available, but at a higher rate.

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

February 14, 5:15 p.m.—Vocal Division Business Meeting.

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me that there is no other music educators convention like TMEA’s. Get involved.

Make a difference. Attend every choral concert. The 2019 TMEA General Sessions and Vocal Division Business Meeting present important and historic elections—your voice must be heard. Remember, what you feed will live. What you do not feed will die. Get involved. Don’t let the term “Active Member” merely exist in print as a subject, but rather make it a vibrant verb, in full action. This is our convention; this is our nexus; TMEA convention is our light and hope for a brighter tomorrow for music education and music educators in Texas. I look forward to seeing each of you in San Antonio!

with Chamber Men to form the Blalack Chamber Mixed Choir. The members of Chamber Women are also active in their school and community in programs such as NJHS, academic UIL, coding and robotics, theatre, band, orchestra, art, athletics, Girl Scouts, Children’s Chorus of Greater Dallas, and much more. Blalack MS currently serves a diverse population of over 1,000 students from Carrollton FarmersBranch, Lewisville, Irving, Dallas, and beyond. The choir department has maintained a healthy program of over 350 singers across nine performing choirs that consistently receive Sweepstakes and Bestin-Class awards at festivals and competitions throughout the state.

Clinic/Convention Update If you aren’t yet registered for the convention, be sure to take advantage of the discounted rate that ends January 24.

When you register (or you can return to the registration pages if you’re already registered), be sure to purchase your family badges, access to clinic audio files, and tickets to the amazing President’s Concert that will feature THE PIANO GUYS. This month, I’m pleased to share with you highlights of six of our invited performing choirs (the other six were featured in our November issue). When you create your online personal convention schedule, be sure to include these concerts so you can witness the incredible work of your colleagues from around the state!

McCullough MS Mixed Choir Conroe ISD The McCullough MS choir program consists of approximately 280 mem-

Blalack MS Chamber Women’s Choir Carrollton-Farmers Branch ISD The Blalack MS Chamber Women’s Choir is an auditioned group of 38 seventh- and eighth-grade singers who not only excel musically but also value academic growth, exhibit responsibility, and treat others with kindness and respect.

This choir performs a variety of concerts throughout the year and combines

bers who perform in eight ensembles.

The Mixed Choir is the premier choir at McCullough MS and includes members of the Varsity Tenor-Bass Highlander Choir and Varsity Treble Chamber Choir. The members of this special ensemble bring their talents and hard work together for 21 minutes each day for rehearsal during the school’s advisory period. With 71 seventh- and eighth-grade students, the McCullough Mixed Choir is a unified team dedicated to choral excellence. All students earned membership in their individual choirs through an audition process which includes solo singing, sightreading, and consideration of work ethic, attitude, and ability to work as a team member.

These young men and women are also involved in band, orchestra, theater, drill team, basketball, football, and other activities, as well as civic and church organizations. They are well-rounded, dedicated

Blalack MS Chamber Women’s Choir

Vocal Division Business Meeting Thursday, February 14 5:15 PM / CC 217

McCullough MS Mixed Choir Southwestern Musician | January 2019 61

students who share their love of music as the McCullough Mixed Choir. The McCullough Mixed Choir is led by Head Director Connie Horton and Associate Director Bryanna Robilotto.

North Shore HS Tenor-Bass Choir Galena Park ISD The North Shore Senior HS Chorale Men have a tradition of excellence in choral music going back three decades.

With an enrollment of more than 4,700 students (70% Hispanic, 24% African American, and 5% White) North Shore Senior HS is the largest Title I high school to achieve TEA Recognized status. The Chorale Men consistently earn UIL Sweepstakes awards as well as Outstanding Performance awards and Best-in-Class trophies at regional and national music festivals in Texas, Georgia, Louisiana, and Florida. They were named 2018 Grand

Champions at the Festival Di Voce held at the Houston Baptist University. The Chorale Men consists of 30 students in grades 10â&#x20AC;&#x201C;12. These choir members are outstanding students who are involved in all aspects of campus life.

Paschal HS Panther Corps Fort Worth ISD Paschal HS is located in the heart of Fort Worth and is the oldest secondary

North Shore HS Tenor-Bass Choir

Paschal HS Panther Corps

Tomkins HS Chorale 62 Southwestern Musician | January 2019

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UT-Arlington A Cappella Choir school in Fort Worth ISD. Panther Corps is the Tenor-Bass side of Paschal’s varsity mixed ensemble, the Panther Chorale. The group was re-established in 2015 with 16 men who met during lunch and outside of class. It has grown to an auditioned group of 28, with students in grades 9–12, as well as an entry-level ensemble of 26 ninth and tenth graders. The men of Panther Corps represent diverse interests and talents outside of choir, participating in Paschal athletics, academic teams, instrumen-

64 Southwestern Musician | January 2019

tal ensembles, and more. The Paschal HS Choral Department’s first appearance at TMEA is representative of a renaissance occurring throughout the school’s performing arts programs, as well as choral programs district-wide.

Tompkins HS Chorale Katy ISD Obra D. Tompkins HS opened in Katy ISD in 2013, and the choral program began with just under 50 freshman and sophomore students. In spring 2016 Tompkins premiered its first Mixed Choir at UIL Contest as 5A Varsity. In its inaugural year, the mixed choir was split into two separate classes with men in one class and women in the other. By the 2016–2017 school year, the Tompkins Chorale met as a combined class and competed at UIL

Contest at the 6A level. In the fall of 2017, the Tompkins Chorale had the honor of performing at the University of Houston’s Choral Invitational Concert as one of four invited choirs. In addition, the Mixed Chorale competed alongside 24 high school choirs from the greater Houston area at the American Classic’s “A Celebration of Excellence,” earning first runner-up honors. This year Chorale is one of three high school choirs to be invited to perform at the Houston Chamber Choir’s “Hear the Future” concert in January. The Tompkins Chorale is proud to have members who are high achieving in not only their academics but also in multiple organizations and activities.

UT-Arlington A Cappella Choir The 52-voice A Cappella Choir is the

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premier choral ensemble of the University of Texas at Arlington. Primarily consisting of undergraduate and graduate vocal music majors, the 2018–2019 A Cappella Choir includes 22 former Texas All-State Choir members. The choir’s diversity is

representative of the UT Arlington student body, which was ranked the fifth most ethnically diverse undergraduate population in the nation in 2018.

The A Cappella Choir gave an invited performance at the 2014 TMEA conven-

tion, served as Ensemble-in-Residence for the National Student Conducting Competition at the 2015 American Choral Directors Association convention, and was selected to perform at the 2016 Southwestern Division Conference of ACDA. The A Cappella Choir frequently performs with professional organizations around the region. They have appeared with the Dallas Symphony Orchestra at the Meyerson Symphony Center in programs featuring the music of film composer Michael Giacchino, Gershwin’s Porgy and Bess, and music from the video game series Final Fantasy. Most recently, the choir performed with the Fort Worth Symphony Orchestra for the Texas Ballet Theatre’s production of Mozart’s Requiem at Bass Performance Hall. In June 2015, members of the choir appeared with the Rolling Stones in concert at AT&T Stadium in Arlington. In 2013 the choir released its first album, The Road Home, which has been broadcast nationally on NPR’s With Heart and Voice, and the choir was named a finalist in the 2014 American Prize for Choral Performance.

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ELEMENTARY NOTES

B Y

C A S E Y

M E D L I N

Halfway there

C

an you believe we’ve already completed half the school year? It’s been an intense one for sure.

In my August column, I encouraged you all to choose a goal for the year. Now is a great time to reflect on how far you’ve come this year and how close you are to attaining your goal. With the upcoming TMEA Clinic/Convention providing many useful clinics and concerts, you are sure to find a session (or several) that will aid you in achieving your goal. The following are just some of the topics you’ll learn more about when you attend: • Kodály, Orff, Dalcroze, Gordon methods • PreK strategies • Music literacy • Folk songs & dances • Teaching with games • World music • Instruments—recorders and beyond • Special needs strategies • Classroom management

With the upcoming TMEA Clinic/Convention providing many useful clinics and concerts, you are sure to find a session that will aid you in achieving your goal.

68 Southwestern Musician | January 2019

January—Renew your membership and register for the convention.

January—Purchase tickets to the President’s Concert.

January 22—Last day to cancel without penalty a reservation made with the TMEA housing system.

January 24—TMEA convention online early registration deadline.

January 25–February 16—Online convention registration remains available, but at a higher rate.

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

February 14, 5:15 p.m.—Elementary Division Business Meeting.

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• Technology for teaching and administration • T-TESS readiness As a reminder, your low registration fee includes so many opportunities designed for elementary educators. If you struggle to get approval to attend, show your administrator your December issue, which includes our full schedule, and if we can provide convention information in a different format that would be helpful, please let me know. Here’s a reminder of the great benefit to elementary educators who attend: • 100+ hours of clinics for elementary music educators, all of which offer Continuing Professional Education credit (including 20 technology clinics relevant to your work in elementary education) • Concerts by elementary choirs and ensembles from around the state • The best bargains on instruments, manipulatives, lesson materials, and music for elementary music • The opportunity to meet elementary educators from Texas and around the world—build your network of support!

Elementary Clinic and Concert Location Alert As you prepare to make the most of your convention experience, be sure you understand where our division’s events will be held: • Elementary Division Clinics will be in the Grand Hyatt ballrooms on the second and fourth floors. Know that all technology clinics are also on the fourth floor.

• Elementary Division Concerts will be in the Convention Center Hemisfair Ballrooms (where Elementary Division clinics have previously been held). This venue will be used for all Elementary and Vocal Division concerts.

I’m excited to offer more information about some of our division’s invited performing groups. Our other groups were featured in the November issue (available online at www.tmea.org/emagazine). Be sure to add these performances to your convention schedule!

Spotted Half Notes Spotted Half Notes Lakeshore Elementary Humble ISD The Spotted Half Notes are an elementary instrumental group consisting of 17 fourth and fifth graders. Students are required to audition to earn entry into the ensemble. The Spotted Half Notes were formed in 2009, the year Lakeshore Elementary opened, and they perform music from a variety of sources including Zimbabwean-style marimba music. Their popularity has grown in Humble ISD, and they perform regularly throughout the school year. Performances include the Humble ISD Fine Arts Festival, Lakeshore Elementary Drama Club Performances, and the grand opening of Main Event in Humble. The Spotted Half Notes are honored and excited to include the 2019

TMEA Clinic/Convention in their performance schedule!

Director Jonathan Kaciuba is entering his 10th year as music specialist at Lakeshore Elementary. He graduated in 2009 from Augustana College in Rock Island, Illinois, with a BA in music education. Kaciuba is the music specialist for over 1,000 students and runs two extracurricular groups: the Spotted Half Notes and the LSE Drama Club. He enjoys composing music and has written pieces for the Spotted Half Notes.

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Eddins Elementary School. Rehearsals are held outside the school day. This year’s honor choir consists of 59 students. The Eddins Honor Choir also performed at the 2011 and 2015 TMEA conventions.

Director Melissa Ringel is the music specialist at Eddins Elementary, where she teaches general music and serves as the director of the Eddins Honor Choir and Eddins Wildcat Choir. She is in her 22nd year of teaching and holds a bachelor of music degree in flute performance from the University of Kentucky, a master of music degree in flute performance from

Eddins Honor Choir

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Bentley Beatz Southwestern Musician | January 2019 73

Florida State University, and an artist certificate for flute from Southern Methodist University. Prior to teaching at Eddins, Ringel taught at Boals Elementary in Frisco, where her honor choir was invited to perform at the 2006 and 2009 TMEA conventions.

Griffin Elementary Fifth Grade Choir, Katy ISD Griffin Elementary is an Exemplaryrated campus in Katy ISD. Formed at the opening of the school in 2005, the Griffin Elementary Fifth Grade Choir is in their

13th year under the direction of cofounders Cynthia Brodt and Jason Ritchie. The choir is a non-auditioned performing group, open to all fifth graders possessing the desire and commitment to sing.

Over the past 13 years, the choir has performed a wide repertoire, including different styles and languages. Past performance opportunities include Katy and Houston area hospitals, malls, and retirement communities, as well as the 2013 TMEA Clinic/Convention. The Griffin Elementary Fifth Grade Choir is honored to return for the 2019 TMEA Clinic/Convention.

Bentley Beatz Lamar Consolidated ISD Bentley Beatz is an afterschool percussion program created the fall of 2016, when Bentley Elementary opened its doors.

Composed of fourth and fifth graders, the group’s goal is to introduce the performers and audiences to a wide variety of musical genres. At the same time, they raise expectations of what is typically performed by

elementary school students.

Elementary Music Specialist Nick Perez is the director; however, the group is a harmonious collaboration between students and teacher, creating a unique product in which the performers take pride. Members of the Beatz form strong personal bonds throughout their musical journeys and most think of themselves as family. As one member put it, “We’re one big pineapple and we don’t want to get chopped in half!”

The Bentley Beatz hope creativity, musicianship, and friendship shine through in their performances, leaving the audience with smiles on their faces and a song in their hearts.

After three years as a Texas certified educator, Perez believes the most important aspect of educating is creating meaningful relationships with his students.

He has delivered multiple masterclasses and clinics and helped create the orchestra program in Lamar Consolidated ISD. Perez holds a bachelor’s degree in music education from Texas A&M UniversityCommerce.

Invite Your School Administrator In appreciation for their support of music education, TMEA provides complimentary convention credentials to upper-level administrators (superintendents, principals, and school board members). The TMEA Clinic/Convention offers an incredible opportunity to witness the passion and rigor inherent in Texas music education.

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Reaching Underserved Populations

By Judy Bowers

CREATING MUSIC TEACHERS FOR A NEW REALITY

A

cross the country, underserved populations in school music ensembles is a topic of growing interest and sometimes debate, evidenced by recent music publications.1 For decades, related research findings have been published in educational, sociological, and psychological journals. Only more recently has music education research increased examination of such concepts as: • using inclusive teaching techniques for teaching/conducting music classes and ensembles, • removing unintended barriers resulting from long-standing, traditional organizational methods or structures, and • raising awareness of contemporary knowledge regarding bias and discrimination within society to recognize any visible or hidden presence within school music programs.

If accommodating underserved populations in school and community music programs is a professional goal, then a solution may be as simple as teach differently. Creating success for underserved or nontraditional students who don’t gain admittance (or fail to thrive after being admitted into an ensemble) likely requires having a music teacher who ensures student success by building community through meeting individual needs. In contrast to the teach differently short answer, the long answer is more complicated because a pathway for success with underserved populations has not yet been clearly defined. Group solutions offered by professional leaders within organizations are likely confounded by the diverse and perhaps conflicting individual solutions brought by members within the group (based on individual teacher attitudes and behaviors).

Given broadly accepted societal expectations for teachers to accommodate typical and underserved students in school music programs, mapping a road to success is a logical next step; employing inclusive, developmental teaching techniques surely should be one dot on that map. Music education research that 76 Southwestern Musician | January 2019

seeks to determine what it takes to create a highly effective teacher offers guidance regarding the development of inclusive teaching behaviors. Preservice training variables (targeting teachers earning initial certification) can also be meaningful to practicing music teachers. In addition, there are programs that address diverse cultural issues that can also impact preservice and inservice teacher decisions for creating healthy environments, leading to academic, musical, and social growth. To reshape the professional vision (values, goals, etc.), all teachers should be informed and have a voice in how school and community programs find success for all interested participants.

Guidance from Research Literature for Inservice and Preservice Teachers Investigations of teacher disposition issues have isolated several important variables important for any teacher striving to be highly effective2: (1) reflectivity, (2) empathic caring, (3) musical comprehensiveness, and (4) learnability of music. To state these as a parent or principal might describe an ideal teacher, the four items suggest: (1) the teacher is a strong problem solver/decision-maker, (2) the teacher is a caring person who creates a safe environment yet challenges students, (3) the teacher engages students in learning beyond pitches/rhythm needed to deserve a high performance rating, and (4) the teacher builds confidence among individual students so they can be successful in understanding and accomplishing musical tasks—students who have developed their musical self-concept. These four important variables describe teacher effectiveness that students and adults alike can easily identify, though perhaps using different vocabulary, and tend to be implemented across extended interactions with students rather than one-time events.

The four variables share commonalities, such as identifying, analyzing, evaluating, and focusing more on student growth than program or ensemble prominence. Whether verbalized or

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modeled, when a teacher listens to a student’s problems, understands, and supports decision-making, the message to the student is that you are worthy of my investment in your well-being. When teachers commit to comprehensive musicianship— insisting students develop music skills as well as understand concepts, vocabulary, music expressivity, and musical analysis to become independent musicians—students learn their teacher considers them capable.

Inclusive teaching techniques and methods in music settings can build a bridge, connecting typical and underserved music students through common experiences.

Inclusive teaching methods, such as Developmental Teaching Practice,3 support student learning by delivering information in a way that provides clarity despite a student’s limited prior musical knowledge.

This could be accomplished through one or more of the following methods: (a) use a teaching sequence that includes smaller steps to allow additional time spent in each and repetition for novice music students, (b) teach concepts in a non-musical way that students might already

understand, and then add musical labels after students have successfully experienced the learning, or (c) use analogies of relationships students might understand to indicate the musical relationship.

Developmental Teaching Practice contributes to success for typical music students and can be highly effective in structuring success for underserved musicians. While there is little consensus of best practices for teaching underserved students in traditional ensembles/classes, with shifting demographics and societal expectations of the public school mission, agreement is growing that change may be needed in how musical learning should be provided. (For more insight on Developmental Teaching Practice applied to choral instruction, go to www.tmea.org/ developmentalteaching.)

Summary and Professional Implications These things we know: 1. Underserved populations abound, and people want or need access to school and community music groups;

all students should have equal access to high-quality music education experiences.

2. Teacher effectiveness study results suggest that highly qualified teachers share commonalities that promote inclusive teaching and learning environments that are student-centered, creating relationships of support and respect.

3. Developmental Teaching Practice (using extended sequences to accommodate the true novice in musical knowledge, moving from the nonmusical idea or label to the musical, and using analogies to create understanding) allows accommodation of students at almost any level to creatively make music without increased off-task behavior or lowered performance standards—yes, this is possible.

4. Overtly teaching knowledge and strategies for identifying and understanding diversity in others can be done in music programs—I hope this soon will be an expectation in all music curricula.

Whether music teaching gently evolves

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or is actively reshaped to intersect with societal change, there are many choices that individual teachers might consider.

Central to my current thinking is pondering the role of teachers throughout the transition across coming decades.

Certainly social change, technological advancements, and professional considerations (recruitment of quality candidates into teacher education, teacher pay, benefits, empowerment, etc.) may dramatically affect the unveiling of a new era.

One critical challenge may be recruiting highly qualified undergraduate students to become music teachers. A similar concern involves maintaining a highly qualified teaching force, which likely implies providing lifelong, high-quality teacher inservice or other support, and more importantly, providing intervention when teachers, both novice or experienced, struggle to succeed. The delivery of professional development for teachers may look very different, but teacher isolation or disconnection from other music educators simply must be addressed.

To meet goals for excellence in every school/community program, consider these points: 1. Current professional development models intended to support professionals who work in challenging assignments are insufficient; often, isolated teachers fail their students and themselves almost daily, as they are overwhelmed by inappropriate challenges or insufficient guidance and support.

2. All music teachers should consider creating plans to make a difference beyond the walls of their school or community program. Look around, identify, intervene, support, network, and refuse to see teachers and their students fail.

My plan for the next few years is to create a team to explore ways that various stakeholders can approach music teacher success: university programs and their graduates, fine arts supervisors and their arts teachers, district music teachers and their colleagues, state professional music organizations and their members. These paired music participants have a relationship, which means they have responsibilities to each other.

We have models, and some work well, but it is time to review our procedures,

models, traditions and determine if they still work. If not, then it’s our responsibility to create change.

What will you do?

Judy Bowers is the Biedenhorn Endowed Chair in Music Education at the University of Louisiana Monroe and is a 2019 TMEA College Division Featured Clinician.

References 1. Boerger, Kristina (guest editor). The Choral Journal: A Focus on Social Justice

2

and Choral Communities, 59(3), 2018.

2. Woody, R.H., Gilbert, D, & Laird L.A. (2018). Music teacher dispositions: Self-appraisals and values of university music students. Journal of Research in Music Education, 66(1), 111-125. doi: 10.1177/0022429418757220 3. Bowers, J. (2011). Structuring Success in Beginning Middle School Choral Ensembles, in Teaching Music through Performance in Choir, ed. Frank Abrahams. Chicago: GIA Press.

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Southwestern Musician | January 2019 81

COLLEGE NOTES

B Y

V I C K I

B A K E R

Processing a year of teaching

W

ord processing is an indispensable tool for university faculty and students alike. In classrooms, offices, residence halls, and buildings across campus, desktop and laptop computers, tablets, and other electronic devices are being utilized to prepare documents.

Delete I have found that when I create a document, I use certain commands more frequently than others. One of my personal favorites is Delete. When I make a typographical error, reconsider my word choice, or decide on a more effective way to express my thoughts, by simply pressing a key, I can erase all evidence of my previous (sometimes feeble) attempts.

I think the reason I am so enamored with the delete option is because of my personal experience with the evolution of word processing. I began typing on my mother’s Underwood manual typewriter. While it was entertaining to hear a ding with each carriage return (albeit not on the level of Anderson’s Typewriter Symphony), I had to use a typewriter eraser to make corrections.

This never completely obliterated the error, and my fervor frequently resulted in my tearing a hole in the paper. Next came electric typewriters and various forms of correction tape that covered the offending mistake while leaving a trail of white particle evidence all over the typewriter. Designed to paint over errors, Liquid Paper required patience for the requisite drying period, and

We are powerless to Undo the past, but being cognizant of potential pitfalls and being prepared to approach situations differently can make a difference in our effectiveness over the upcoming year.

82 Southwestern Musician | January 2019

January—Renew your membership and register for the convention.

January—Purchase tickets to the President’s Concert.

January 22—Last day to cancel without penalty a reservation made with the TMEA housing system.

January 24—TMEA convention online early registration deadline.

January 25–February 16—Online convention registration remains available, but at a higher rate.

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

February 14, 5:15 p.m.—College Division Business Meeting.

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it often turned into thick, white clumps.

Finally, along came word processing and the magical Delete key.

As we enter a new year, and spend time reflecting on the year past, we can all think of events, experiences, and words we wish we could Delete. Unfortunately, there is no Delete key for our performance in the classroom. That is why it is important that we, as educators, look back to the previous year and learn from our mistakes and failures. We are powerless to Undo the past, but being cognizant of potential pitfalls and being prepared to approach situations differently can make a difference in our effectiveness over the upcoming year.

find myself wishing I could travel back in time to my first year with the Undo and Redo commands at my disposal. Without a doubt, there are many things I would like to strike through (for example, setting off the music building burglar alarm during class time, disrupting instruction across campus), and my greatest desire is to return with the knowledge and experience I have acquired and provide those students of my past with a higher quality musical experience.

Preservice music educators: what choices will you make in your educational

journey and your personal life in 2019 that will serve to shape your future success in the classroom? One of the most significant events during my undergraduate years was my first trip to a TMEA Clinic/Convention. I was astounded by the vast amount of training available, the wealth of resources to investigate, and the remarkable performances by the state’s top student musicians. I dubbed the convention “a music teacher’s Disneyland.” I have made an annual pilgrimage to San Antonio for the past 32 years, and the professional development, networking

Save It certainly isn’t my intent to merely focus on the negative aspects of the previous year. We should also reflect on our successes and the steps we took to achieve positive outcomes and mentally press Save.

We often focus on our failures because we believe correction of errors is the key to future success. However, replicating our actions that led us to our desired outcome is of equal importance. Some of my most frustrating moments while operating a computer have been when I failed to Save my work and lost hours of content I created. While I can rewrite the material, I am unable to accurately replicate it. In the same way, when we try to retrieve events from our memory, we are not able to remember every step of the process. When you have a successful teaching experience or an idea that yields positive results, record the details and Save the supporting documents.

New Document The advent of 2019 allows us to create a New Document. Formatting options provide us the tools to design a missive that reflects our identity. Margin settings allow us to establish boundaries and parameters of our commitment to our teaching, scholarship, and service. Likewise, font style and size enable us to make bold statements, to underline major points, and to italicize words of importance. We can use color to add personality and artistic touch to the narrative of our year’s journey. The length of the document is contingent on our personal and professional goals for the year and the effort we put forth in achieving those goals.

As I reflect on my teaching career, I Southwestern Musician | January 2019 87

opportunities, and inspirational speakers and performances have served to shape my teaching narrative.

I encourage you to attend the TMEA Clinic/Convention in February and make it an annual event throughout your college and teaching career. If you haven’t yet, go to www.tmea.org/convention for these important items and much more: • Review the online schedule.

• Register to attend (by January 24 to pay the lower fee).

• Make a housing reservation (before January 22).

College Division Fall Conference Minutes Friday, October 12, 2018 College Division Vice-President Vicki Baker called the meeting to order at 10 a.m. Robert Floyd, TMEA Executive Director, welcomed the members to the TMEA headquarters. Baker recognized past College Division Vice-Presidents in attendance, Caia McCullar (Dallas Baptist Univ), Si Millican (UT/San Antonio), and

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88 Southwestern Musician | January 2019

Brian Miller (Sam Houston State Univ).

A motion to approve the minutes of the February 15, 2018 College Division Business Meeting as printed in the April issue of Southwestern Musician was made by Michael Alexander (Baylor Univ) and seconded by Brian Miller. The vote to approve the minutes was unanimous.

Amy Simmons (UT/Austin) announced the upcoming deadline for research poster submissions. Baker reminded members about the upcoming deadline for scholarships and for the TMEA Collegiate Music Educator Award.

Baker provided an overview of the 2019 convention and presented a synopsis of the sessions led by the College Division Featured Clinicians, Judy Bowers (University of Louisiana/Monroe) and William Fredrickson (Florida State University).

Robert Floyd discussed plans for the upcoming TMEA Centennial celebration in 2020. Vice-President Baker encouraged members to think of ways the College Division could participate in the commemoration of the centennial.

Baker led a discussion of the changes to the teacher certification process under review by Texas Education Agency.

Amy Simmons reported that the Research Committee was investigating ways to be involved in the TMEA Centennial, including designating a portion of the Research Poster Session at the 2020 conference to the history of TMEA and subsequently publishing a special edition of Texas Research Reports dedicated to the centennial.

Si Millican led a breakout session to examine the content of the EC–12 Music TExES preparation materials on the TMEA website and to develop a plan for updating the content to be in closer alignment with the current exam format.

Elizabeth Chappell (Univ of North Texas), leader of the breakout session of the Inclusion Committee, reported the members’ proposal to change the name of the committee to “Inclusion of Underserved Populations” because it would apply to a broader-based student population.

Members of the Two-Year College Committee discussed various ways they could promote their music programs and partner with four-year universities.

The meeting adjourned at 2:30 p.m.

Respectfully submitted by Vicki Baker.

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