October 2018 Southwestern Musician

OCTOBER 2018

Contents VO LU M E 87 ɵ I S S U E 3 ɵ O CTO B E R 2018

Features Advocacy: The Time Is Now . . . . . . . . . . . . . . . . . . . . . 15 In the days leading to the general election, before our next legislative session begins, you have the attention of those who will influence the future of education. Take advantage of this season with increased advocacy.

[M AT T M AT T H E W S]

Effective Communication from the Podium . . . . . . . . . 29 The way we communicate about our programs and about the music itself shapes our students’ interest and our ensembles’ success.

[S C OT T R U S H]

15

Success Teaching Students with Special Needs . . . . 40 As you look for ways to reach each student in your classroom or ensemble, consider these 10 steps for success.

[V I R G I N I A T H O M A S]

Mentors Help Lead the Way to Success . . . . . . . . . . . 51 Early in their careers, teachers can greatly benefit from the experience, suggestions, and support of those who have walked the path before.

[LY N N E J A C K S O N]

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

H OR TO N]

Executive Director’s Notes . .10 [R O B ER T

Updates

F LOY D]

Band Notes . . . . . . . . . . . . . 21 [J O H N

CA R R O L L]

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

Orchestra Notes . . . . . . . . . 36 2019 TMEA Clinic/Convention: Concerts, Clinics, Exhibits. . . . . . . . . . . 8

[B R I A N

C O AT N E Y]

The Piano Guys to Honor Texas Music Educators . . . . . . . . . . . . . . . . 27

Vocal Notes . . . . . . . . . . . . . 46 [DER R ICK

B R O O K I N S]

Elementary Notes. . . . . . . . 54 [CA S E Y

M ED L I N]

College Notes . . . . . . . . . . . 58

on the cover

[V I C K I Jude Kershaw, now a freshman at UT/Austin, performs with the Plano West Senior HS Symphony Orchestra during the 2018 TMEA Clinic/Convention. Photo by Karen Cross.

BAKER]

Southwestern Musician | October 2018

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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

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

TMEA Offers Undergraduate and Graduate Scholarships To be eligible, complete all application requirements by November 1.

Do you teach high school seniors who want to be music educators?

TMEA offers undergraduate scholarships for applicants who enroll in a music degree program at a Texas college or university leading to teacher certification. Encourage your best and brightest seniors to apply and submit all supporting materials by November 1.

Graduating Senior Scholarships • Bill Cormack Scholarship: $3,000/year for up to five years • Past-Presidents Memorial Scholarship: $2,500/year for up to five years • Past-Presidents Scholarship: $2,500/year for up to five years • Executive Board Scholarship: $2,500/year for up to five years • One-year scholarships: $2,500 for one year only

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 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.

Are you in an undergraduate music education program?

Whether you just started a music education program or are preparing to begin student-teaching, TMEA offers you support. Scholarships for undergraduate music majors (available only to active TMEA college student members) are $2,500.

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

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

Are you a music teacher continuing your professional growth with graduate study?

TMEA supports its members who have at least three years of classroom experience at the time of application and who are committed to expanding their knowledge and skills through graduate study in music by offering scholarships of $1,250 to $2,500.

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

Go to www.tmea.org/scholarships

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

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Southwestern Musician | October 2018

Vast opportunities.

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Vastly different.

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TTUSchoolofMusic

B Y

R O B E R T

H O R T O N

PRESIDENT’S NOTES

Understanding the power of yet

W

October—Renew your membership and register for the convention.

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

November 1—TMEA scholarship application deadline.

December 31—TMEA email/mail/fax convention preregistration deadline.

January 24—TMEA convention online early registration deadline.

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

elcome to the long, uninterrupted stretch between Labor Day and Thanksgiving Day— some might refer to it as the long haul of the fall, Bandtober, or as my friend Jennifer Gallagher declared it, the Dark Evil Void of Late September, October, and November.

As you read this article, we are there. This time of year can be challenging, as we are in the middle of a semester. In The Beginning Teacher’s Field Guide: Embarking on Your First Years, Tina H. Boogren refers to this period as the “Disillusionment Phase.” I don’t want the focus of this column to be negative, but I do want to acknowledge the reality that this time of year can be tough. I also want to offer some thoughts about how to move forward through it.

By focusing our attention on selected thoughts, we can act ourselves into a way of thinking. William James, who many believe to be the father of modern psychology, said, “The greatest weapon against stress is our ability to choose one thought over another.” My hope here is to provide you some other ideas to contemplate, so that you can find ways to be refreshed and to be the best version of yourself. You deserve it and so do your students.

I believe that music educators can be some of the most optimistic people in all of education. We are always working in a growth mindset, where the power of yet drives our thinking. When our individual students or ensembles are struggling, we tend to revert to a forward-focused reality. Yes, you cannot quite play or sing that—yet. We don’t have precision, blend, balance, or intonation yet.

Belief in our students is a powerful force. We often must believe for them until they learn how to believe in themselves. Again, we turn to William James:

We are always working in a growth mindset, where the power of yet drives our thinking.

Southwestern Musician | October 2018

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Southwestern Musician | October 2018

“The art of being wise is knowing what to overlook.” One can always find negative information to confirm our fears and suspicions and to support our reasons not to try. In his book It Worked for Me: In Life and Leadership, General Colin Powell offers the following within a list of his 13 Rules: “Don’t take counsel of your fears or naysayers” and “Don’t let adverse facts stand in the way of a good decision.”

Intentionally teaching students the joy of the journey empowers them to develop perspective. One of the best parts of music education is the joy and sense of accomplishment we feel when students achieve their goals. Focusing on daily accomplishments also helps us, as teachers, keep our perspective. When we actively teach our students to appreciate the growth experienced through the process, we empower them to see much more than the ultimate goal. If the sole measure of success is winning or first place, most people will be disappointed. If the only acceptable outcome of participating in the All-State process is making an All-State ensemble, then 98% of the over 70,000 students who begin the process are failures. I do not subscribe to this point of view. I believe that the lessons learned and the growth experienced on the journey are more valuable than the outcome.

Developing persistence, determination, self-discipline, and confidence can and should be desired outcomes for all our students. A student in the process also learns about how they react under pressure, how to prepare for a competition, and how to receive feedback and coaching.

Our responsibility as music educators is to ensure that students learn these valuable life lessons through the music.

To help students, we must have resources. For years, I have heard Dr. Tim Lautzenheiser tell students that you can give away only what you have. How are you working on your outlook? In what ways are you seeking to develop the optimism necessary to lead through difficult times?

Colin Powell also included in his 13 Rules: “Perpetual optimism is a force multiplier” and “It can be done!” How you choose to view situations will directly impact their outcome. As their leader, students and colleagues are looking to you to see if things are going to be okay.

If you’re trying to develop more optimism, one necessary strategy is to choose carefully whom you spend your time with.

As a young teacher, I was counseled by some veterans to avoid the teacher’s lounge.

I didn’t fully understand this advice until I saw who was always in the lounge at that campus—mostly teachers whose outlook was particularly negative. When I chose to spend time there, I realized their attitudes were contagious. So, I chose a new venue with a beloved teacher in my hallway. Her love of life and students gave me new perspective, and I found myself wanting to emulate her. The next year, when I went to a new campus, I vowed to be the kind of teacher my students and others were glad to see coming, not glad to see leaving. It is a constant choice.

Another strategy to reframe your outlook is to dwell on gratitude. No one arrives at their current state alone. As teachers, we have all been influenced and guided by those who chose to help us. How long has it been since you expressed your gratitude to someone who helped shape your life?

When my son was a boy, he would attend our high school choir concerts (under duress from his mother). After the concert, he would invariably say, “Good job flapping your arms, Dad!” While childish, his reaction reminded me that without

students doing the hard work, demonstrating all we had practiced, I was indeed just flapping my arms. We created the music together, but at concert time, I was just the facilitator, trying to make it easy for them to perform. How often do you thank your students?

I leave you with some belief statements that were shared by performing arts students at our beginning of the year convocation: I learn well when you use humor and show me the humor in situations. I love it when you make our class enjoyable and I feel welcome.

I love it when you engage me in every lesson. The more I am involved, the better I learn!

Be real. Show me that you are a person with feelings, too. Be the real you, and then I can be the real me. It’s okay to not know

all the answers.

Show me how to learn. Teach me to use all my resources and how to learn when you aren’t my teacher anymore.

Don’t be afraid to show me that you care about me as much as you care about the subject you teach.

Make me feel safe. Make me feel appreciated. Notice when I am there and when I am not. Don’t be afraid to be vulnerable.

Love me for who I am.

Connect with me—teach me to be the person I know I can be.

I encourage you to reach deeply inward and outward to find ways to refocus during this difficult time of year. Keep striving to do and be the best you can, and spend time with colleagues who want the same for you and for themselves. As William James reminded us, “Act as if what you do makes a difference. It does.”

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Southwestern Musician | October 2018

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Southwestern Musician | October 2018

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EXECUTIVE DIRECTOR’S NOTES

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Why music?

I

n late August, we posed the simple question “Why music?” through our social media channels and enjoyed a variety of wonderful responses. Earlier in the year, we asked a similar question of students who had performed during our 2018 convention, and we received over 700 replies. We asked these students at the request of Frank Ticheli, who will use their ideas as he works on a commissioned composition for TMEA’s Centennial celebration in 2020. Reading through the social media and student replies, it’s clear that whether you are 5 or 50, you can have an equally clear conviction about what music means to you.

During the last few days, our staff, in collaboration with Arrow, the public relations firm contracted by the Executive Board to work with us on the Centennial, have been exploring similar advocacy resources supporting the Centennial theme, “It All Starts with Music.” Our goal is to put into words and video the importance of music education and music in our lives and the lives of our students. Certainly, the message will vary depending on the audience— students, parents, administrators, policymakers, and business leaders. One can build a case that rigorous music study can contribute to success in school, in the workplace, and in life, but what happens if the data doesn’t support that music study raises a math test score, or contributes to better attendance, or fewer dropouts. Then what?

Ultimately, our Centennial message will be that it all starts with music because it is music. Across cultures, across generations, music shapes our lives.

Through music, we experience the beauty of creating—the surrender of the ordinary to the sublime. In the words of former Texas congresswoman Barbara

Across cultures, across generations, music shapes our lives.

10 Southwestern Musician | October 2018

October—Renew your membership and register for the convention.

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

November 1—TMEA scholarship application deadline.

December 31—TMEA email/mail/fax convention preregistration deadline.

January 24—TMEA convention online early registration deadline.

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

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Jordan, “What is there that can transcend deep differences and stubborn divisions?

The arts. They have a wonderful universality. Art has the potential to unify. It can speak in many languages without a translator. Art does not discriminate. It ignores external irrelevancies and opts for quality, talent, and competence . . . the arts can lift us all up.”

How music impacts each of our lives is very personal and thus the reason it is difficult to come up with a one-size-fitsall definition of its importance. Still, as a music educator, it is important to have

at the ready a 1–2 minute rationale about how you serve students in your music classroom. More than once I’ve received a call from a member on a Friday afternoon explaining that on Monday evening their school board will consider cutting the elementary music specialist positions and wondering what to do. A similar call came from a member who had just been informed by his principal that he was considering cutting a music staff position for the following year and asking the director to remind him why music was important for kids.

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12 Southwestern Musician | October 2018

As you read this column, we are near the midpoint of the first semester. Despite the passion that we have for teaching music, the daily grind of all that is school can begin to wear on us. During the more challenging days and weeks, it is a most appropriate time to think about your answer to “why music” and revisit Nathan Langfitt’s September article on self-care.

As I stated in last month’s column, no one on your campus will be an advocate for your program like you, so you must be prepared to present a convincing message at a moment’s notice. This can also serve as your personal motivation during the tough days when you might begin to question why you chose this profession.

The Piano Guys Honor Texas Music Educators I hope you are aware that The Piano Guys will present the President’s Concert and give the keynote at the First General Session at the 2019 convention. I encourage you to go to their website and watch a few of their videos and then go straight to our website and purchase your tickets.

Working with their management has been delightful. They have scheduled this performance on their way to the beginning of a multi-week tour opening in Key West because they want to share their gratitude to Texas music educators for your commitment to music education in our schools.

Most notably, they are bringing their full show to San Antonio at a deeply discounted fee so that we may offer you a $20 admission. More than likely this concert will sell out. Do not wait until the day of the performance to buy your tickets. The Piano Guys are as passionate about music education as they are about performing.

You do not want to miss it. You will be in stitches one moment and in tears the next.

In the words of The Piano Guys, their mission will always be to produce music videos that inspire, uplift, and make the world a better place. They share that if they can make a positive impact in even one person’s life, it has all been worth it to them. Certainly, that too should be the goal of every music educator entering the classroom each day.

TMEA Annual Report TMEA’s 2017–2018 annual report, authored by President-Elect Joe Muñoz, is now available at www.tmea.org/ annualreport.

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The Time Is Now by matt matthews

I

n an even-numbered year, the onset of college football also means the political season is upon us. As cooler temperatures blow in, political debates heat up. Soon we will be awash in campaign commercials and buried under political mail by every office from the United States Senate to our local school board. The November 8 general election could hold some interesting results and will likely affect public school music education. It is the perfect time to act!

Following the election, the Texas Legislature will reconvene in January 2019. Because our legislature meets for only 140 days in every odd-numbered year, each session is critical, and this one will be very important for all fine arts programs across Texas.

Since the last legislative session adjourned, you have witnessed the imposition of a new accountability system, the devastating impact of Hurricane Harvey, and the launching of a special commission to study school finance—all have affected and will continue to affect fine arts programs. This is all to say that a lot has happened in public education, and there will be a tremendous amount on legislators’ education plates come January. We are already hearing about efforts to expand CTE courses down to grades 6–8 and a CTE course substitution for the one-credit fine arts graduation requirement.

Music educators surely have a lot to say about these things. So, before you get lost in the backwash of myriad legislative distractions and other shiny objects, it’s important that you plant a flag.

Before the session begins, you must remind legislators why highquality music education is essential for all students.

There are 181 state legislators in Texas, each having some form of input on public education. Each state representative has approximately 34,000 students in their district and each state senator represents about 162,000 K–12 students. When one considers that spending on public education consumes more than 40% of the state’s budget, it is little wonder that it takes center stage every

legislative session. As a result, public education is at the top of each legislator’s priorities. That is a fact.

TMEA leaders have worked hard through many sessions to preserve the footing of fine arts education in law. We are fortunate to have many friends in the halls of the capitol, both elected and unelected. Hardly a legislative day goes by that we don’t learn of some personal connection to an arts background. It might be a staff member who played oboe in high school or a legislator whose son or daughter is a middle school music teacher. We are constantly encouraged by the reach of our arts alumni and are forever updating our list of fine arts champions in the legislature.

However, the work we do in Austin, on its own, is insufficient for the battles we expect are coming in January.

We should never assume that fine arts programs are at the top of legislators’ education priorities. Simply put, we have to make our case during the election season and as the legislative session draws near. Now is when the input and support of fine arts educators and parents become crucial. Waiting until a problem arises is too late to begin developing a relationship.

Now more than at any time in the last two years, we need music educators, parents, and other advocates to actively engage with their legislators on a personal and local basis.

We need you to be personally engaged in a more widespread effort to advocate for music education and the advancement of fine arts on a local level.

A well-known political saying is that “all politics is local.” If we don’t push, advocate, and defend fine arts education, other interests and pressures can push it aside. I have said before on these pages, and it remains true today, that conveying the special mission of music education is most effective when it comes from you—from your lips, in person, community by community, one legislator at a time.

The truth is that when they are in session, legislators have less Southwestern Musician | October 2018 15

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time and less capacity to hear our messages. Things are just too busy, and they have unbelievable demands on their time.

Unlike this political season when they are willing to say yes, as the session begins, they’ll more likely say no and won’t be as willing to form new relationships. We’ll need them more than they need us.

So let’s not wait for January 2019. This is the season for advocacy. Now is when grassroots efforts are most effective—it’s the time when legislators are seeking reelection and rushing to speak anywhere two or more voters are gathered. This is when they focus on town hall meetings, grocery store encounters with constituents, and Rotary Club. They not only have more time and ability to hear our message, they also want to make our acquaintance and earn our support.

Now is the time when they need our support the most. All too often, we let this critical opportunity slip away without actively engaging in communicating with our legislators. This is what we call grassroots advocacy, and the political season we are entering is the perfect time for us to do this work.

So What Do You Do? Look for local opportunities to meet your legislator or candidate, especially in public appearances they may make at forums, town hall meetings, or church gatherings. Consider inviting them to a performance or hosting a coffee to introduce them to neighbors or other teachers—they love networking! And always feel free to call the TMEA office if you need any help or have any questions. The key is to make legislators and candidates aware that there are actively involved fine arts educators in their district who are interested and informed and who have reached out to help.

Politics—and government—are about relationships and familiarity. Your goal is simply to make legislators aware of what

TMEA CONVENTION HOTEL RESERVATIONS Opens October 1 tmea.org/housing

you do and develop a relationship with them that can be cultivated. It all starts with you reaching out and paying attention to them. You will be surprised to find just how much they want to hear about what you do and how amenable they will be to visit your programs.

What it means for you is that you are a part of the change, influencing public opinion. If it sounds difficult, it shouldn’t.

But it is very important. TMEA and your lobby team are already at work developing strategies and legislative priorities for the upcoming session. But our success

depends on the foundation you will build before it all begins.

A favorite political saying is, “No one has to do everything, but everyone has to do something.” Nothing could be truer, and the timing couldn’t be more perfect.

Won’t you help?

Matt Matthews is founder and CEO of WKH JUDVVURRWV DGYRFDF\ ÀUP 6RXWKZHVW Stratagem, LLC. He is a registered lobbyist and is under contract with TMEA to DVVLVW LQ RXU ÀQH DUWV LQLWLDWLYHV

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Southwestern Musician | October 2018 17

WIND BAND

CONGRATULATIONS TO THE 2018 MARK OF EXCELLENCE NATIONAL WINNERS Class A

Class AAAAA

Argyle MS Red Band.................................. Evan Fletcher ................................Argyle, TX

Las Vegas Academy Wind Ensemble ........... Brian Downey/John Seaton .. Las Vegas, NV

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

LBJ Wind Ensemble..................................... Brian Mayer...................................Austin, TX

North Ridge MS Honors Band .................. Jessica Shadman ..................... Arlington, TX

Poteet HS Honors Band.............................. Cody Newman ........................ Mesquite, TX

Roma MS Symphonic Winds ..................... Corey L. Graves............................. Roma, TX

Red Oak HS Wind Ensemble .................... Steven H. Moss.........................Red Oak, TX

Shadow Ridge MS Honor Winds ............. Chris Meredith ................Flower Mound, TX

Victor J. Andrew HS Wind Symphony ...... Mark Iwinski ........................... Tinley Park, IL

Veterans MS Honors Band......................... Raymond Alaniz .......... Rio Grande City, TX

Wakeland HS Wind Symphony ................ Tanner Smith .................................. Frisco, TX

Class AA

Class AAAAAA

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

Marjory Stoneman Douglas HS Wind Symphony...Alex Kaminsky .....................Parkland, FL

Arbor Creek MS Honors Band .................. Rylon Guidry ..........................Carrollton, TX

Dulles HS Honor Band ............................... Joe Pruitt ............................... Sugar Land, TX

Cedar Park MS Symphonic Band ............. Britni Dunn.............................Cedar Park, TX

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

Cedar Valley MS Honors Band................. Pete Alvarado ................................Austin, TX

Keller HS Wind Ensemble .......................... Mark McGahey ............................ Keller, TX

Coppell MS West Honor Winds ............... Greg McCutcheon ....................... Dallas, TX

Langham Creek Wind Ensemble ............... Gloria Ramirez ..........................Houston, TX

Dowell Wind Ensemble .............................. Tiffany Lisko.............................McKinney, TX

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

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

Ronald Reagan HS Wind Ensemble ......... Daniel Morrison .................San Antonio, TX

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

Vandegrift HS Wind Ensemble .................. Mike Howard ................................Austin, TX

Killian MS Honors Band............................. Rob Chilton .............................. Lewisville, TX

Vista Ridge HS Wind Ensemble................. Bryan Christian .....................Cedar Park, TX

Maus MS Wind Ensemble ......................... Katie Lewis ..................................... Frisco, TX

Wylie HS Wind Symphony ........................ Todd Dixon.....................................Wylie, TX

Berry Miller JH Honors Band ..................... Chris Bennett .............................Pearland, TX Pearland JH West Honors Band ................ Meredith Bates Bishop .............Pearland, TX

New Music Division

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

Friendswood JH Symphonic Band............. Sarah Bennett ....................Friendswood, TX

Spillane MS Symphonic Winds ................. John Barton ................................ Cypress, TX

Vandegrift HS Wind Ensemble .................. Mike Howard ................................Austin, TX

T.A. Howard Honor Band .......................... Nathaniel Neugent ................. Arlington, TX

Wylie HS Wind Symphony ........................ Todd Dixon.....................................Wylie, TX

Walsh MS Honor Band .............................. Jennifer Bergeron ................Round Rock, TX Wiley MS Wind Ensemble......................... Garland Chiasson ..................... Leander, TX

Class AAAA Kennedale HS Wind Ensemble ................. Erol K. Oktay .........................Kennedale, TX North Lamar Symphonic Band .................. Randy M. Jones ...............................Paris, TX

COMMENDED WINNERS Class A

Class AAAAA

Bonnette Bobcat Symphonic Band............ Trenton Petry ........................... Deer Park, TX

Aledo HS Wind Ensemble ......................... Joey Paul ........................................Aledo, TX

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

Amarillo HS Honors Band.......................... Bruce Collins ..............................Amarillo, TX

Griffin MS Wind Ensemble ........................ Leigh Ann McClain ..............The Colony, TX

Frisco HS Wind Symphony ........................ David Simon .................................. Frisco, TX

Griffin MS Wind Symphony ...................... Carolyn Cansler ............................ Frisco, TX

Roxbury HS Honors Wind Symphony ...... Jeffrey Conrad ....................Succasunna, NJ

Los Cuates MS Honor Band ...................... Criselda Marroquin-Morrell .....Los Fresnos, TX

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

Space Center Int Symphonic Band ........... Bernadette Walls .......................Houston, TX

Tomball HS Wind Ensemble ...................... Chris Yancey ...............................Tomball, TX

Class AA

Class AAAAAA

American Fork JH Wind Ensemble ............ Lance Major ...................American Fork, UT

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

Briscoe JH Honor Band .............................. Mark Keene ............................ Richmond, TX

Cedar Ridge Wind Ensemble .................... Nolan Loyde ........................Round Rock, TX

Burnett JH Wind Ensemble ......................... Ross Patterson ................................Wylie, TX

Clear Springs HS Wind Ensemble ............ Lester Williams .....................League City, TX

Canyon Ridge MS Honor Band ................ Amy Allison ....................................Austin, TX

Conroe HS Wind Ensemble ....................... Bobby W. Heathcock ................ Conroe, TX

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

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

Cinco Ranch JH Honors Band ................... Rachelle Isaacson ........................... Katy, TX

J.J. Pearce HS Wind Ensemble .................. Dimitrios Icossipentarhos ..... Richardson, TX

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

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

Crownover MS Wind Ensemble ................ Christin Bunch ..............................Corinth, TX

South Grand Prairie HS Wind Ensemble .. Justin Wood ......................Grand Prairie, TX

First Colony MS Honors Band ................... Carter Matschek.................. Sugar Land, TX

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

Fort Settlement MS Honors Band......Greg Countryman, Theresa Baragas . Sugar Land, TX Hamilton MS Symphonic Winds ............... Jamie Cabot............................... Cypress, TX

New Music Division

Harwood JH Wind Ensemble .................... Doyle Bellville ............................ Bedford, TX

Central MS Symphonic Band .................... Eric Rose................................. Nederland TX

Highland Park MS Honor Band ................ Lara Whitehouse........................... Dallas, TX

De Zavala MS Varsity Band ...................... Melissa Colvin ............................... Irving, TX

Krimmel Int Symphonic Band ..................... Sharon Kalisek ..............................Spring, TX

Frisco HS Wind Symphony ........................ David Simon .................................. Frisco, TX

Trautmann MS Honors Band...................... Jorge Luis Garcia......................... Laredo, TX

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

Trinity Springs MS Wind Ensemble ........... Dean Surface................................. Keller, TX

Vista Ridge HS Wind Ensemble................. Bryan Christian .....................Cedar Park, TX

Ulrich Wind Ensemble ................................ Mike Rogers .................................... Klein, TX

Class AAAA Churchill Fulshear HS Symphonic Winds...... Andrew Lee ................................Fulshear, TX

SPECIAL THANKS TO BAND ADJUDICATORS ROB CARNOCHAN, RICHARD FLOYD, AND JOHN WHITWELL. THE 2018 MARK OF EXCELLENCE HAD 279 ENTRIES, AND HAS NOW RECEIVED ENTRIES FROM 38 STATES. MORE INFORMATION IS AVAILABLE AT WWW.FOUNDATIONFORMUSICEDUCATION.ORG/MARK-OF-EXCELLENCE RICK YANCEY, MANAGING DIRECTOR RICK@FOUNDATIONFORMUSICEDUCATION.ORG

ORCHESTRA

NATIONAL WIND BAND, ORCHESTRA, AND JAZZ HONORS WINNERS! NATIONAL WINNERS High School Full Orchestra Klein Symphony Orchestra ................................................................................................... Creston Herron ............................................................................................................................... Klein, TX Seven Lakes HS Symphony Orchestra ................................................................................. Desiree A. Overree, John Mays..................................................................................................... Katy, TX Westwood Symphony Orchestra ......................................................................................... Joshua Thompson, Jack Green.................................................................................................... Austin, TX

High School String Orchestra Dulles HS Honors String Orchestra ...................................................................................... Michael Isadore, Angela Yip ............................................................................................. Sugar Land, TX Klein Chamber Orchestra ..................................................................................................... Creston Herron ............................................................................................................................... Klein, TX Plano West Chamber Orchestra........................................................................................... Ryan Ross....................................................................................................................................... Plano, TX Seven Lakes HS Symphony Strings ...................................................................................... Desiree A. Overree ......................................................................................................................... Katy, TX Seven Lakes HS Sinfonia Orchestra ..................................................................................... Desiree A. Overree ......................................................................................................................... Katy, TX James E. Taylor HS Chamber Orchestra .............................................................................. Clinton Capshaw ............................................................................................................................ Katy, TX

Middle School Full Orchestra Curtis MS Symphony Orchestra ........................................................................................... Amanda Su .................................................................................................................................... Allen, TX Woodcreek MS Full Orchestra ............................................................................................. Heather Davis, Carrie Hitt ........................................................................................................Houston, TX

Middle School String Orchestra Beckendorff JH Honor Orchestra ...................................................................................Karel Butz ................................................................................................................................. Katy, TX Canyon Vista MS Honors Orchestra..............................................................................Ragan Whatley ......................................................................................................................Austin, TX Curtis MS Chamber Orchestra .......................................................................................Amanda Su ............................................................................................................................. Allen, TX Doerre Int. School Chamber Orchestra .........................................................................Rowina Torres-McKee ............................................................................................................ Klein, TX Ereckson Chamber Orchestra .........................................................................................Joanna DeVoto ....................................................................................................................... Allen, TX Faubion MS Honors Orchestra .......................................................................................Kari Zamora ....................................................................................................................McKinney, TX Spillane MS Chamber Orchestra ...................................................................................Jeannine Adams ................................................................................................................ Cypress, TX Willow Springs MS Chamber Orchestra .......................................................................Amy Gearhart ........................................................................................................................ Lucas, TX

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

COMMENDED WINNERS High School Full Orchestra L.D. Bell Full Symphony Orchestra........................................................................................ Allison King..................................................................................................................................... Hurst, TX Dulles HS Honors Symphony Orchestra .............................................................................. Michael Isadore, Joe Pruitt ................................................................................................. Sugar Land, TX Round Rock HS Symphony Orchestra.................................................................................. Sandra Vandertulip .............................................................................................................Round Rock, TX

High School String Orchestra Allen HS Chamber Orchestra ............................................................................................... David DeVoto .................................................................................................................................Allen, TX L.D. Bell Symphony Orchestra .............................................................................................. Allison King..................................................................................................................................... Hurst, TX Guyer HS Rhapsody Orchestra ............................................................................................ Michelle Brians Hanlon ............................................................................................................. Denton, TX McKinney Boyd HS Honors Consortium Orchestra............................................................ Michael Link, Michelle New ................................................................................................ McKinney, TX Plano East SHS Chamber Orchestra .................................................................................... Ann Smith, Jeremy Pillow .............................................................................................................. Plano, TX Round Rock HS Symphony Orchestra.................................................................................. Sandra Vandertulip .............................................................................................................Round Rock, TX

Middle School Full Orchestra Garcia MS Full Orchestra ..................................................................................................... Frances Weberpal .............................................................................................................. Sugar Land, TX

Middle School String Orchestra

JAZZ

Burns MS Symphonic Strings ..........................................................................................Sandy Neel ........................................................................................................................Brandon, FL Central JH Chamber Orchestra ......................................................................................Tara Truex ...............................................................................................................................Euless, TX Fort Settlement MS Chamber Orchestra ........................................................................Angela Peugnet, Roger Vasquez, Jr........................................................................... Sugar Land, TX Kealing MS Symphony Orchestra ..................................................................................David Jarrott...........................................................................................................................Austin, TX McCulllough Chamber Orchestra .................................................................................Colin Larsen .......................................................................................................... The Woodlands, TX Sartartia MS Symphony Orchestra ................................................................................Sophia Hsieh................................................................................................................ Sugar Land, TX Vandeventer MS Chamber Orchestra ...........................................................................Chase Fickling........................................................................................................................ Frisco, TX Woodcreek MS Chamber Orchestra.............................................................................Heather Davis, Fernando Schirmer ..................................................................................Houston, TX

High School Jazz Ensemble

NATIONAL WINNERS

Denton HS Lab Band 1 ......................................................................................................... Jesse Woolery ............................................................................................................................ Denton, TX H.B. Plant HS Jazz Band ....................................................................................................... Brian P. Dell...................................................................................................................................Tampa, FL

Middle School Jazz Ensemble Lamar MS & Fine Arts Academy Jazz Factory .................................................................... James Hairston ............................................................................................................................. Austin, TX

Middle School Jazz Ensemble Open Class Wunderlich Jazz Band .......................................................................................................... Tommy Patterson........................................................................................................................Houston, TX

High School Jazz Ensemble

COMMENDED WINNERS

Paschal Jazz Ensemble I..................................................................................................Matt Sawyer ..................................................................................................................Fort Worth, TX Plano Jazz Ensemble .......................................................................................................Mark De Hertogh .................................................................................................................. Plano, TX Willis HS Jazz 1 ...............................................................................................................Andrew Hicks/Chris Allen .................................................................................................... Willis, TX

Middle School Jazz Ensemble Hillwood MS Jazz Orchestra..........................................................................................Jonathan Woodrow ......................................................................................................Fort Worth, TX McMath MS Tiger Jazz Band ........................................................................................Travis E. Harris .....................................................................................................................Denton, TX

SPECIAL THANKS TO ORCHESTRA ADJUDICATORS MARK LAYCOCK AND GARY LEWIS, AND JAZZ ADJUDICATOR DR. STEPHEN GUERRA. THE 2018 MARK OF EXCELLENCE HAD 279 ENTRIES, AND HAS NOW RECEIVED ENTRIES FROM 38 STATES. MORE INFORMATION IS AVAILABLE AT WWW.FOUNDATIONFORMUSICEDUCATION.ORG/MARK-OF-EXCELLENCE RICK YANCEY, MANAGING DIRECTOR RICK@FOUNDATIONFORMUSICEDUCATION.ORG

CONGRATULATIONS TO THE 2018 MARK OF EXCELLENCE NATIONAL CHORAL & PERCUSSION HONORS WINNERS!

CHORAL NATIONAL WINNERS

COMMENDED WINNERS High School Mixed Choir

High School Mixed Choir L.D. Bell HS A Cappella Choir.................Jo Ann Antinone, Sawyer Lowe .... Hurst, TX Magnolia HS Chorale ..............................Jennifer Franz-Melady ...........Magnolia, TX

Cedar Park HS Varsity Mixed Choir .......Lisa Holt ...............................Cedar Park, TX Montgomery HS Madrigals ....................Heather Orr .....................Montgomery, TX

High School Open Class

High School Open Class

Johnson HS Dolce Sirena .........................Christie Brown.....................San Antonio, TX

Middle School Treble Choir WoodCreek JH Varsity Treble Choir .......Anne M. Guess ................................ Katy, TX

Middle School Open Class Arnold MS Chorale Men .........................Marie Parisot.............................. Cypress, TX

Angleton HS Varsity Treble Choir ............Tony Stewart ...........................Angleton, TX Montgomery HS Chorale Women ..........Heather Orr .....................Montgomery, TX Oak Ridge HS Varsity Treble Choir .........J.R. Smith .....................................Spring, TX

Middle School Treble Choir Arnold MS Concert Treble Choir .............Laura Martin ............................ Cypress, TX Women of Heritage ..................................Julie Ann Allen ..................... Colleyville, TX

Middle School Open Class Heritage A Cappella Choir......................Julie Ann Allen ..................... Colleyville, TX

PERCUSSION NATIONAL WINNERS High School Percussion Ensemble

Middle School Percussion Ensemble

Colleyville Heritage HS Percussion Ensemble ......Nick Beaudet ...........Colleyville, TX Vista Ridge HS Percussion Ensemble.....................Hector Gil............... Cedar Park, TX

Ulrich Percussion Ensemble ......................Brian Perez .................................... Klein, TX

COMMENDED WINNERS High School Percussion Ensemble

Middle School Percussion Ensemble

Keller Central Percussion Ensemble.......................Matt Stephens ..........Fort Worth, TX Lovejoy HS Percussion Ensemble ..........................Nathan Lewis ................... Lucas, TX

Willow Springs MS Percussion Ensemble ........Nathan Lewis ......................Lucas, TX

SPECIAL THANKS TO ADJUDICATORS DR. JANET GALVAN (CHORAL) AND LALO DAVILA (PERCUSSION) THE 2018 MARK OF EXCELLENCE HAD 279 ENTRIES, AND HAS NOW RECEIVED ENTRIES FROM 38 STATES. MORE INFORMATION IS AVAILABLE AT WWW.FOUNDATIONFORMUSICEDUCATION.ORG/MARK-OF-EXCELLENCE RICK YANCEY, MANAGING DIRECTOR RICK@FOUNDATIONFORMUSICEDUCATION.ORG

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

Performances by the National Winners represent the top 25% of the entries, and demonstrate stunning musical achievement and exemplary teaching! In 2018 the project had 279 entries, and has now received entries from 38 states.

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

HONORS

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

B Y

J O H N

BAND NOTES

C A R R O L L

Revitalize and reenergize October—Renew your membership and register for the convention.

September 15–October 20—All-State Jazz auditions.

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

October 23—Deadline to upload AllState Jazz recordings.

November 1—TMEA scholarship online application deadline.

November 10–11—All-State Jazz judging.

December 1—Honor Band preparations may begin.

December 31—TMEA email/mail/fax convention preregistration deadline.

January 12—Area Band and Vocal auditions.

January 24—TMEA convention online early registration deadline.

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

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

I

sincerely hope you are having a great fall season with your band. If you teach beginners, I expect that you’re seeing them progress daily and hope you get to see their eyes light up with each newly learned note or concept. If you work primarily with middle school students and ensembles, I would think that you are in the midst of preparations for fall concerts as well as reinforcing concepts taught last year and preparations for All-Region Band auditions. High school directors—oh, the benefits of those Friday night lights! Marching band builds ensemble skills needed for concert season, and of course we all gain from the esprit de corps developed this time of year. Additionally, as we all know, our audiences are the largest during this time.

If you are a university teacher, thanks for keeping the bar lifted high, and for giving our secondary students yet another wonderful and thrilling experience by their participation in those college programs.

Hopefully, we are all still fresh with the excitement of this school year.

However, I sometimes find the days are getting a little long for both the students and me. When this happens, I seek new ways of presenting materials, find new materials themselves, and dig into my soul to find ways to reenergize myself and, hopefully by extension, reenergize my students. What I try to avoid is not doing anything different at all. I try to do something—anything—to

Let’s all work to stay fresh as the year quickly moves on.

Southwestern Musician | October 2018 21

revitalize. I have always feared that simply going along with the status quo gets us only so far. Let’s all work to stay fresh as the year quickly moves on.

And that brings me to mentioning two wonderful opportunities for reigniting our passion—attending the Midwest Clinic and our own TMEA Clinic/Convention.

What valuable tools we can garner from these two events! They renew, and they give us concrete strategies. I know that none of us ever want to become stagnant.

These two opportunities help keep that from happening.

The Midwest Clinic In my August column, I mentioned the Texas ensembles invited to perform at the Midwest Clinic in Chicago. Please consider attending the event, and if you do, support our Texas colleagues and their students as they perform at this highly acclaimed and prestigious conference.

You can find a list of these ensembles at www.tmea.org/midwest.

What a great opportunity for revitalization just before you break for the holidays!

22 Southwestern Musician | October 2018

TMEA Clinic/Convention Update First of all, please attend the TMEA Clinic/Convention. Even if you are scheduled for UIL Concert & Sightreading Evaluation early, I hope you will still plan to attend. It can be so incredibly helpful, and yes—reenergizing.

As you think about our event, I want to make a special plea to you to consider serving as a volunteer for TMEA in some capacity. Submit your information online at www.tmea.org/bandvolunteer. You truly are needed. The Band Division has an especially important need for volunteers to be presiders and guides for performing ensembles. It doesn’t require a significant amount of your convention time and, in fact, it very well may add to your convention experience. Thanks go to those who have already registered to volunteer!

The TMEA discounted convention housing system opens on October 1 at 6 a.m. CT. This is the official housing reservation system. Know that individuals have been contacted by other companies offering discounted housing. TMEA will never call you to make a hotel reservation, and by making a reservation through the official housing system, you

will ensure your reservation is honored.

Go to www.tmea.org/housing and make your reservation soon as our hotels sell out very quickly.

I am very excited to announce our 2019 All-State Band Conductors. The students who will rehearse under the direction of these superb teachers will undoubtedly have an awe-inspiring experience they will remember for the rest of their lives.

Steve Davis All-State Symphonic Band Conductor Steven D. Davis is a lauded, versatile, and cosmopolitan conductor who has inspired hundreds of ensembles around the world. In constant demand as a guest conductor, he has conducted across four continents, working with ensembles in cities such as Bangkok, Beijing, Interlochen, Lisbon, Melbourne, Salzburg, Sydney, Tianjin, and Vienna, and he regularly conducts in his favorite city, Kansas City.

He has been celebrated as a conductor of wind ensembles, orchestras, opera, ballet, and cutting-edge new music ensembles.

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

AUDITION DATES F R I D AY

F R I D AY

S AT U R D AY

F R I D AY

(PIANO, VOICE)

(VOICE)

(BRASS, KEYBOARD, PERCUSSION, VOICE, WOODWINDS)

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

November 30, 2018

January 25, 2019 S AT U R D AY

February 9, 2019

January 26, 2019 (BRASS, PIANO, PERCUSSION, STRINGS, VOICE, WOODWINDS)

Auditions are required of all entering and transferring music majors.

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

March 1, 2019

S AT U R D AY

March 2, 2019 (BRASS, PIANO, PERCUSSION, STRINGS, VOICE, WOODWINDS)

In addition to conducting symphonic repertoire of historically significant composers, Davis is fervently committed to performing new repertoire.

Davis currently serves as the Rose Ann Carr Millsap Missouri Distinguished Professor of Music and Professor of Conducting at the University of MissouriKansas City’s Conservatory of Music and Dance. He has received numerous awards and honors and is an elected member of the American Bandmasters Association.

Jamie Nix All-State Concert Band Conductor Jamie L. Nix is director of wind ensembles and professor of music and holds the Hal J. Gibson Distinguished Chair in Conducting at the Columbus State University Schwob School of Music in Georgia. Previous posts include serving as associate director of bands and the Donald R. Shepherd Assistant Professor of Conducting at the University of Michigan School of Music, Theatre & Dance, where he was director of the Michigan Marching Band. Prior to that he was assistant director of the Longhorn Band at the University of Texas at Austin Butler School of Music.

Under his direction, the nationally acclaimed Schwob Wind Ensemble has performed at the 2015 CBDNA National Conference, the 2012 CBDNA Southern

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Division Conference, and the 2018 and 2012 GMEA State Conferences. Nix has recently been a guest conductor of the Eastman Wind Ensemble, the U.S. Army Field Band, and CBDNA North-Central Intercollegiate Band. He has conducted the Florida and Virginia all-state bands, the Music for All Summer Symposium, and numerous region and honor bands and orchestras in the U.S. and Canada.

Nix, elected into the American Bandmasters Association in 2016, holds a DMA in conducting from the University of Miami, two MM degrees, in trombone performance and conducting, from the University of Michigan, and a BM in Performance from Auburn University.

Robert Carnochan All-State 5A Symphonic Band Conductor Robert M. Carnochan serves the University of Miami’s Frost School of Music as Director of Wind Ensemble Activities, Music Director/Conductor of the Frost Wind Ensemble, and Professor of Conducting. Prior to his current position, he served as Longhorn Band Director at the University of Texas Butler School of Music, Associate Director of Bands at the University of Colorado, Director of Bands at Northeastern Oklahoma State University, and Associate Director of Bands at Stephen F. Austin State

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MARY HARDIN-BAYLOR

1849 University Ave., Berkeley, CA 94703 800-322-6263 510-845-7178 9:30 AM to 5:30 PM Pacific Time Weekdays 9:00 AM to 5:00 PM Pacific Time Saturday

DE PARTM E NT OF M U S IC

umhb.edu/music Southwestern Musician | October 2018 25

University. Carnochan began his teaching career as Director of Bands at Dundalk HS in Baltimore—a position he holds dear to his heart.

Carnochan invests much time commissioning works of the next generation of talented composers such as Viet Cuong and Zack Stanton, and he has received praise from many composers including Steven Bryant, John Corigliano, Michael Daugherty, Donald Grantham, John Mackey, David Maslanka, Gunther Schuller, Joseph Schwantner, Frank Ticheli, and Dan Welcher. Carnochan is

Audition Dates for Music@UTPB Wednesday, October 10 (band & choir) Thursday, October 11 (strings) Wednesday, November 14 (band & choir) Thursday, November 15 (strings) Wednesday, February 27 (band & choir) Thursday, February 28 (strings) Thursday, April 25 (strings) Friday, April 26 (band & choir)

Generous Scholarships Available

26 Southwestern Musician | October 2018

an active guest conductor throughout the United States, and he has conducted concerts in both Europe and Asia.

Carnochan maintains memberships in the College Band Directors National Association, Florida Music Educators Association, Texas Music Educators Association, Phi Beta Mu, and American Bandmasters Association.

He has a bachelor of science degree from Towson University, a master of music degree in wind conducting from the University of Colorado, and a doctor of musical arts degree in wind conducting from the University of Texas.

Conrad Herwig All-State Jazz Ensemble I Conductor Considered one of the finest living jazz trombonists, Conrad Herwig serves as Artistic Director and Chair of Jazz Studies at the Mason Gross School of the Arts, Rutgers University. An accomplished pedagogue, he has taught clinics around the world. Herwig is an alumnus of the University of North Texas, Goddard College and Queens College, CUNY. He began his professional career in the early 1980s with Clark Terry’s big band; stints with Buddy Rich, Toshiko Akiyoshi, Mel Lewis, and other leading big bands followed. For the past 25 years, Herwig has been one of New York’s more prominent jazz musicians. He has recorded and/ or performed with Joe Henderson, Jack DeJohnette, and Paquito D’Rivera. Herwig has a nearly three-decade affiliation with Eddie Palmieri as well as performing with and serving periodically as musical director of the Mingus Big Band.

A high profile, in-demand sideman

since the 1990s, Herwig has received critical acclaim as a leader. A four-time Grammy-nominated artist, he has released 24 recordings under his name and contributed to more than 200 others. Perhaps best known for his ongoing “Latin Side” project, Herwig’s reimagination of the works of John Coltrane, Miles Davis, Herbie Hancock, Wayne Shorter, and Henderson have cemented his place in modern Latin Jazz. He has headlined major U.S. festivals, including Monterey, Newport, Chicago, and Detroit, and he has performed internationally on the Montreux, North Sea, and Umbria Jazz Festival stages, among others.

Dana Landry All-State Jazz Ensemble II Conductor Dana Landry is Director of Jazz Studies at the University of Northern Colorado. Under his leadership, UNC Jazz Lab Band I received DownBeat magazine’s Student Music Awards ten of twelve years, most recently in 2017 as winner in the Graduate Large Ensemble category. Lab I released a new CD in 2017: The Romeo and Juliet Project, which is a jazz suite based on Shakespeare’s famous work.

As a pianist, Landry is featured on recordings on the Summit, Origin, and Artist Alliance record labels, several of which reached the top of the Jazz Week U.S. Radio Chart. His first CD as a leader, Journey Home, featured virtuoso vibist Gary Burton and received a Grammy nomination. His 2014 trio release, Memphis Skyline, celebrated the jazz musicians of that great American musical city, some of whom are among Landry’s teachers and main influences. His latest quartet CD, Standard Elevation, features Steve Kovalcheck, guitar, Erik Applegate, bass, and Jim White, drums.

Landry has performed throughout the U.S. and in Europe, Australia, and China, and has played with jazz greats, including Milt Jackson, Bob Brookmeyer, Bela Fleck, Dick Oatts, Ingrid Jensen, Jeff Coffin, Eddie Daniels, Don Aliquo, Rufus Reid, Clay Jenkins, Bob Mintzer, and Slide Hampton. In addition to his touring schedule, Landry performs regularly with the Colorado Symphony Orchestra, playing everything from pops concerts to Stravinsky and Copland.

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SCHOOL OF MUSIC DEPARTMENT HEADS

Wei Chen Bruce Lin

Douglas R. Boyer

Deborah Mayes

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Beth Bronk

Asst. Professor, Collaborative Pianist

Director of Bands bbronk@tlu.edu

Shaaron Conoly Director of Vocal Studies sconoly@tlu.edu

Eric Daub Director of Piano Studies edaub@tlu.edu

Eliza Jeffords Director of Strings ejeffords@tlu.edu

Asst. Professor, Piano

Scott McDonald Instructor, Saxophone & Jazz Band

Carla McElhaney

David Milburn Instructor, Double Bass

Kurt Moede Instructor, Horn

Keith Robinson Instructor, Tuba & Music Education

Jill Rodriguez Instructor, General Music

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Effective Communication from the Podium

by Scott Rush

I

t is now more important than ever for music teachers to be effective communicators. There are so many stakeholders with whom we need to effectively communicate: students, parents, administrators, school board members, the booster board, fellow faculty members, financial supporters, and the community at large. Sometimes it feels more like Band Director as CEO than it does Band Director as Artist. While it’s essential to take care of the non-pedagogical issues in any music program, my focus here is on our communication from the podium.

A Culture of Excellence: The late Bruce Dinkins, a longtime band director whose final 10 years were leading the Bowie HS Band in Austin, had a sign in front of the band hall that read: “To all who enter: You are subject to the relentless, refining power of music through its uncompromising standards.” Music is a discipline, and it requires hard work. Music is powerful, and high standards are required to demonstrate artistry, passion, and communication of the human spirit.

Fun Versus Rewarding: A student once asked me if I thought band should be fun. I told her that the chance to give away your musical gift is great fun, but that the time leading up to a performance consists of hard work, including individual practice. I then explained that when you become skilled on your instrument, playing will become rewarding. When you seek to master the art of music and realize the enjoyment to others when forging a human connection through music, you experience that great reward.

Awaken Possibility: In one of his TED Talks, Benjamin Zander, a former mentor and professor at the New England Conservatory of Music, tells about an experience where he had an epiphany and realized that the job of the conductor is to “awaken possibility” within each player. According to Zander, the conductor is powerless without this key element. So the director’s job is to

awaken possibility and help each student find his or her “musical gold.” Every student has musical gold on the inside. For some, it’s easy—we just give them a platform and a little push, and they take musical flight. For others, we must dig deep to help them find their musical gold—but it’s there. This belief system is one of the main attributes of being a successful director. As for me, I’m simply not going to give up on any student; I keep digging until they fall in love with music.

Musical Conviction: In reference to communicating from the podium, conductor and educator Larry Livingston once said, “All the rivers flow together . . . Conducting is as much about your ability to induce those people to want to go with you over the cliff as much as it is technique. To do that, you must have musical conviction, you must thoroughly know the score, and you must be the music.” I will take that one step further and say that we must “be music” in the eyes of our students—when they see us, they should see music.

Videorecording rehearsals is a wonderful way to grow as a director. You might be able to troubleshoot your gestures, or you might look at the video and say, “What in the world am I doing with my left hand?” Although this is a worthy exercise, don’t forget that, ultimately, it’s about the music. It won’t matter in the least if you look like the great conductor Carlos Kleiber if the ensemble sounds don’t reflect that level of quality. Use evaluation time not only to critique yourself but also to clearly determine what sounds are coming from your ensemble. What you are hearing is more important than what you are seeing. It’s one thing to look like the music, but it’s better to ask yourself whether your gestures are eliciting the sounds you desire.

Here are some basic conducting tips to keep in mind as you continually evaluate your effectiveness on the podium: Southwestern Musician | October 2018 29

1. Conduct musical line and shape; use the front-to-back plane to communicate direction, especially with the left hand.

2. Music-making requires the freedom to internalize the music and evoke a passionate interpretation when recreating the printed notation on the page. Your gestures should elicit the sounds you want from your ensemble and convey emotion. What you convey and how the players feel is truly important.

3. Create an environment where initial time is provided by you as conductor, but synergistic time is felt and inherently kept by the musicians; this allows you to focus on emotions, wonder, and aesthetic qualities.

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4. Strive for an interpretation that represents the composer’s intent and is also grounded in ideas gleaned from the discovery process of score study. Your interpretation and the composer’s intentions collide—and that’s where authentic music-making happens.

To effectively communicate from the podium, you must constantly work on you.

You must practice your artistry and hone your musicianship. Otherwise, you will not be able to ignite the passion required to artistically make music with your students.

You can give away only what you have, and it takes years of developing as a musician and as a person to create a shared environment where the players can express who they are and how they feel through music.

Part of our job as conductors is to grow in such a way that our life experiences, feelings, and emotions are felt through the music-making process. Composer and conductor Bruno Walter stated: The value of a conductor’s artistic achievements is to a high degree dependent upon his human qualities and capacities, the seriousness of his moral convictions, the richness of his emotional life, the breadth of his mental horizon. In short, his personality has a decisive effect on his achievements.

If his personality is unable to fulfill the spiritual demands of the works he performs, his interpretations will remain unsatisfactory although their musical execution may be exemplary.

In addition, it is important to develop a vivid rehearsal vocabulary. Notation alone cannot express all the composer feels or

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intends, nor can it indicate the depth of expressiveness or the conviction of the interpretation.

Here is a type of rehearsal vocabulary not based on skill or technique, but on artistry and musicianship: • Long notes have direction.

• Phrases have peaks and valleys, and direction to and away from arrival points.

• Certain notes receive weight, while others do not.

• Carry over (connect) phrases when appropriate, and make sure you don’t breathe at inappropriate places.

• If a line is repeated, do something different with it the second time.

• Find tension and release points.

• Bring out suspensions, appoggiaturas, and upper and lower neighbors.

• Musical moments usually take longer to build than they do to pull away.

• In many styles, short notes lead to long notes.

• Know the characteristics and stylistic features of the music you are performing.

• It’s what’s not on the page that makes the music.

• Use mood words to establish style and ambiance.

• Music must be interpreted to the point that the performance is said to be artistic and the performers, artists.

These points are designed to establish a vocabulary and a culture for music-making. It’s a different mindset from being in tune, playing in time, or executing the correct articulation or note length.

It’s a form of musical communication, a language in and of itself. This list can aid in the development of your ability to communicate musical concepts from the podium. However, the students must be at the point in their musical development where your comments are age-appropriate. You must build musical capacity hand in hand with skill and technique; it’s a simultaneous process. Your rehearsal hall should be filled with this type of dialogue.

Before we leave this idea of effective communication from the podium, I want to briefly discuss the collaborative process.

There are some in the music world who have erroneously labeled the large ensemble experience as one person standing in front of the room with one-way communication going out from the podium while the players compliantly obey. This could not be further from the truth. If we truly believe in music education, then we know how important it is to use guided questions to collectively involve students in musical communication.

It should not be uncommon to say to

your ensemble, “We’ve done three different interpretations of this passage. Which one do you like and why? Do you have something that you would like us to do differently?” If, for example, the principal flute player says, “You know, I think it would be rewarding if we consider stretching beat 4 in measure 79 before we resolve the phrase over the bar line,” you try it and say to the ensemble, “That was fantastic!”

The collaborative process is truly a shared experience.

We also need to get off the podium and give the players permission to communicate with each other. Instead of arrows only pointing out from the podium, there should be arrows of communication flying all around the ensemble as listening skills and musical communication intuitively happen, much like what we see and hear within a chamber music group. Encourage your student musicians to collaborate and communicate with each other.

Music is inspirational, uplifting, contemplative, serene, and poignant.

Communicating music is the ultimate responsibility of every director. What’s powerful is the ability of a successful director to inspire young people through music.

When music reaches beyond the rehearsal room, directors transform individual lives in a profound way.

Scott Rush is the lead writer for the “Habits” series published by GIA.

• Persichetti said, “Music is either singing or dancing.”

• It’s what happens between the notes (or from note to note) that makes the music come alive.

• The music will tell you what to do; the natural, intuitive response to the music inspires you to communicate emotion.

• Trust your soul to feel and express the music; tell a musical story with passion and insight.

• Try to discover music in every phrase.

• Unlike a painting or sculpture, music can be recreated again and again, with new meaning and understanding.

• The paper and ink do not make the music. Instruments make no sounds on their own—the musician’s soul creates the music.

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Getting parents involved

O

ne of the biggest challenges teaching at a twoyear senior high school is getting parents involved in their child’s music education. Since most of our students are independent and drive themselves to school, we have struggled getting parents to attend concerts and being enthusiastically proud of their child’s performance. As I considered how I might increase parent involvement, I came up with an idea to form a parent orchestra. I had the fortune of growing up in a household of musicians, so some of my most cherished memories are of creating music with my family. I realized many of our students and parents never get this same experience. My hope was that by creating this orchestra, parents would get more involved and appreciate their child’s musical experience and would have the opportunity to perform with their child. I am proud to say that after three years of its existence, we are still going strong and all my hopes have been exceeded.

And while this has been an effective program where I teach, I realize our specific method might not work for you. It will take some creative thinking, but I have no doubt you can develop a system that works for your program. The first necessity to make a parent orchestra successful is to make it a yearlong commitment. I have seen some programs attempt three or four practice sessions

One of my most rewarding accomplishments as an educator was seeing these parents and students perform together and experience that same bond I cherish with my family.

36 Southwestern Musician | October 2018

October—Renew your membership and register for the convention.

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

October 15—Deadline to upload HS String Honor Orchestra recordings and postmark deadline for Parts B and C. October 20–21—HS String Honor Orchestra judging.

October 27—Protected All-State String recording date.

November 1—TMEA scholarship online application deadline.

November 3–4—All-State String judging.

December 31—TMEA email/mail/fax convention preregistration deadline.

January 24—TMEA convention online early registration deadline.

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

leading up to parents performing Twinkle, Twinkle Little Star at a concert. I wanted our parents to experience what their children experienced as beginners. They needed to have the excitement of opening the case for the first time and learning about the parts of the instrument. They needed to go through the pain and frustration of learning how to practice when the initial excitement of orchestra wears off.

Most importantly, I wanted them to experience the same year-round performances that their child experienced.

We hold a parent meeting at the start of every school year, so I took advantage of this meeting and encouraged our parents to enroll in Parent Orchestra. We meet Tuesday evenings from 7 to 8 p.m.

Parents are responsible for acquiring an instrument, so I encourage them to learn on their child’s instrument. If they want to learn a different instrument, they are responsible for renting or purchasing it.

With parents now playing the students’ instruments, an added benefit I began noticing was that the instruments had newer strings and much needed repairs were being made.

We began in September, teaching the parents just like we would a beginner class.

We taught them parts of the instrument, how to read music, and proper setup. I also encouraged our students to help their parents and teach them how to practice. One of the funniest comments I heard from a bass student was that his mom practiced more than he did.

Our first Parent Orchestra performance was in December, and we played lines out of Essential Elements and two beginnerlevel pieces. We continued meeting in the spring semester as we prepared three Grade 1 pieces. I also wanted them to expe-

rience a festival performance, so I entered them in a local beginner festival where I am proud to say they received a superior rating and rave comments from the judges. The highlight of the year was our spring performance where I worked with the students to acquire extra instruments so that they could perform a side-by-side concert with their parents. We even had some parents brave enough to prepare and perform duets with their child. One of my most rewarding accomplishments as an educator was seeing these parents and students perform together and experience that same bond I cherish with my family.

I encourage you to start a parent orchestra on your campus. The best advice I can give you is to make the commitment with the mentality of no limits. Push them on the literature and teach with the same musical expectations you have for your students. Most importantly, find opportunities for them to have the same performance opportunities as the students.

While it requires more time and energy, I promise the benefits will be worth it.

TMEA Clinic/Convention Update I’m happy to share information about our outstanding All-State Conductors who will be leading our state’s best orchestra students in February. Along with attending the concerts, know that All-State rehearsals are open and are often valuable learning experiences for teachers.

If you haven’t yet, be sure to register for the convention. Discounted housing for TMEA members opens on October 1 and our hotels sell out quickly, so be sure to reserve early!

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dreds of workshops and performances.

Go to www.tmea.org/convention for more details about this amazing event and to register.

Gary Lewis All-State Sinfonietta Orchestra Conductor Gary Lewis is the Director of Orchestral Studies and the Bob and Judy Charles Professor of Conducting in the College of Music at the University of Colorado Boulder, where he conducts the University Symphony Orchestra and oversees the entire orchestra program. He also serves as Music Director and Conductor of the Midland-Odessa Symphony Orchestra, principal guest conductor of the Boulder Philharmonic Orchestra, and Conductor of the Greater Boulder Youth Symphony Orchestra.

Prior to his appointment at Colorado, Lewis served on the faculties of Texas Tech University, the Ohio State University, the University of Michigan, and Abilene Christian University. He is equally at home with professional, university, and youth ensembles. In addition to his regular conducting posts, he has appeared with the Colorado Symphony Orchestra, the Colorado Music Festival, Boulder Ballet, Midland Ballet Theater, Ballet Lubbock, the Lubbock Symphony Orchestra, the Abilene Philharmonic Orchestra, the Quad Cities Symphony Orchestra, the New Symphony Orchestra, and the Western Plains Opera Theater. His work with summer music festivals has also been noteworthy, including the Interlochen Center for the Arts, Pine Mountain Music Festival, and the Rocky Ridge Music Center.

As a strong advocate of music education, Lewis has presented many inservice workshops for public school educators, as well as numerous presentations at state and regional music education association conferences. In addition, he has conducted all-state orchestras and bands in many states, along with the ASTA National Honor Orchestra and the Honor Orchestra of America. In 2010 Lewis became the founding Artistic Director of the Greater Boulder Youth Orchestras and continues to serve as conductor of the Symphony Orchestra.

Joshua Gersen All-State Philharmonic Orchestra Conductor Joshua Gersen is currently the Assistant Conductor of the New York Philharmonic, where he recently made his subscription debut in February on hours’ notice to critical acclaim. For the past five years Gersen was the Music Director of the New York Youth Symphony and was also previously the John S. and James L. Knight Foundation Conducting Fellow of the New World Symphony, where he served as the assistant conductor to the symphony’s Artistic Director Michael Tilson Thomas and led the orchestra in various subscription, education, and family concerts, including the orchestra’s renowned PULSE concert series. He made his conducting debut with the San Francisco Symphony in the fall of 2013 and has been invited back numerous times to conduct a variety of concerts. Gersen was the winner of the Aspen Music Festival’s prestigious 2011 Aspen Conducting Prize and the 2010 Robert J. Harth Conducting Prize, and he served as the festival’s assistant conductor for the

2012 summer season under Robert Spano.

He served as the principal conductor of the renowned Ojai Music Festival in 2013 and has conducted the National Symphony, Toronto Symphony, New Jersey Symphony, Indianapolis Symphony, Alabama Symphony, Jacksonville Symphony, and members of the Pittsburgh Symphony.

He was also a recipient of a 2015 and 2016 Solti Foundation U.S. Career Assistance Award. Gersen is a graduate of the Curtis Institute of Music and the New England Conservatory of Music.

Kevin Noe All-State Symphony Orchestra Conductor A passionate supporter of composers and the arts of our time, Kevin Noe has commissioned and premiered over 100 new works. Having a background in theatre, he has a particular interest in works that blend art forms, and he serves as stage director, actor, writer, filmmaker, and conductor for mixedmedia productions. Noe is the Director of Orchestras and Professor of Conducting at Michigan State University. A dedi-

cated conducting teacher, his conducting students have held positions with the Cleveland Orchestra, the Massachusetts Institute of Technology, the Bolivian National Symphony, the Lawrence Conservatory of Music, Baldwin Wallace Conservatory, the University of Toledo, the Colorado Symphony, the Houston Symphony, the Orchestre National de France, the University of Houston, and the University of Pennsylvania. He is currently working on a book on score study, the art of interpretation, and the teaching of conducting entitled A Heretics Guide to Conducting. Noe has also held positions with the University of Texas at Austin, the National Repertory Orchestra, Duquesne University, and the Pittsburgh Opera Center and has conducted numerous allstate orchestras around the country. He completed his graduate studies at Rice University, where he received the Sally Shepherd Perkins Prize in Music, and he was the recipient of the Maurice Abravanel Fellowship at the Tanglewood Festival.

Noe’s principal conducting teacher was Larry Rachleff, and he also studied with Robert Spano, Gustav Meier, Gunther Schuller, and Seiji Ozawa.

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Success Teaching Students with Special Needs

E

by Virginia Thomas

ach of us have taught students who challenged us—the student who rocks back and forth in their chair, the student who calls out incessantly, the student who seems unable to play at any dynamic other than forte, the student who keeps lifting their shoe to smell it. The list could go on.

My first job included teaching K–8 music classes, Life Skills music, and Emotional Support music. There was no curriculum to follow for the Life Skills and Emotional Support classes, and I had no training or college classes on special education within the music classroom. Pinterest, Google, and Teachers Pay Teachers didn’t exist. It was a baptism by fire, yet those two classes ultimately laid the foundation for who I am as a teacher today.

Now, after 16 years, I still find that the students who require me to work the hardest are also the ones who make me a better teacher. As you think about lesson planning and activities while setting your special needs students up for success, consider these 10 tips that have helped me throughout my career: 1. Do Your Homework At the start of the school year, organize your special education paperwork. My former colleague Jessica (Flanagan) Dolphin shared an idea with me several years ago to establish a color code for the accommodations you frequently implement in your classes.

I can easily look at my roster and see green (check for understanding), yellow (allow more time), and so on.

40 Southwestern Musician | October 2018

After color-coding, look through the paperwork for documentation of any type of processing issues, physical needs, and current reading levels. It is always a great idea to speak with special education staff to gain more information. You need to establish an open communication line for the future.

2. Set Realistic Goals Music educators are trained to focus on areas that need improvement within our ensemble or classroom. The result can be that we pay attention to the group while neglecting the individuals (something I’ve struggled with). I am in no way suggesting we focus only on individuals, nor am I saying that one student should dictate what happens in a rehearsal or class. When we teach students with special needs, however, we must retrain our brains to focus on individuals and set realistic goals for them that may differ from a group goal.

It may not be realistic for a special needs student to follow their part in a choral octavo in SATB with piano and hand drum written in the score. That student will get easily lost. However, by making a copy that contains only their part, you can reduce the distractions and make the goal more realistic.

One concept I learned early in my music teaching career was that not all goals are music-related. In the partner music class I teach, special education students have regular education students as helpers. Misty is in this partner music class, and she

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has a physical disability. For months she would never use nor relax her right arm.

In attending her ARD meeting, I learned she can use that side, she just chooses not to. We began placing percussion instruments in her other hand or standing on the other side of her to encourage her to use the muscles on her right side. After a year and a half, she now holds a drum with her right hand while playing with a mallet in her left hand.

3. Interact with One-on-One Communication Many students in that same partner music class do not speak, which can be problematic when assessing their learning. Using your hands to indicate choices works for these students because many also get overwhelmed with more than 2 or 3 choices. Place one hand toward the student saying the first option (Was that note high?) and then place the other hand out with the other option (Was the note low?).

Using switches is another effective means for giving students more choices while speaking for them. There are a wide variety of switches, sometimes referred to as augmentative and alternative communication (AAC). They can be pricey, but your special education teachers may have them available for use. There are also several apps from just a few dollars (iComm) to around $200 (Proloquo2Go) you can use on an iPad or tablet. Some students may already have an assistive technology device with these apps. While not all apps are as robust as others, some are great because they include pictures.

Using switches or giving choices may not work for every student. Offering a student with Down syndrome a choice and putting out your hands could result in them just repeating both options and grabbing both hands. Or maybe you teach a verbal student who just doesn’t feel confident in answering questions. Or maybe you have a student with selective mutism in your class.

In the beginning of the year, until students become comfortable with each other and me, I utilize group questioning, where the group can raise their hands in agreement with a statement or give thumbs up or down. This offers students a way to hide at first and, as they are beginning to communicate, it helps them reinforce their own answer by looking at their classmates.

I find group answering to be especially 42 Southwestern Musician | October 2018

helpful for students with selective mutism disorder. Selective mutism is an anxiety disorder in which a person who is normally capable of speech cannot speak in specific situations or to specific people.

Adding kinesthetic actions to warm-ups, games, chants, and other activities allows the director to see that the student is participating and hopefully audiating. The church choir I direct includes one of my students with selective mutism; I purposefully sat her beside her best friend. She eventually started to mumble sing and then graduated to answering questions that could require a simple head nod or thumbs up or down. As music educators, we have the advantage of having students in our programs for multiple years. After several years of taking these types of small steps, this student now exhibits little to no anxiety in our choir room.

4. Focus on the Ability, Not the Disability The more one-on-one interaction you have, the more you will know about a student. Special needs students generally must work harder and they face more obstacles in an educational environment compared with others. If you’re like me, panic can set in when you learn about a new student with special needs being placed in your ensemble. We begin to focus on the disability rather than their abilities. With each student, and especially students with special needs, we need to focus on what the student can do. Each student, disability or not, has something to offer to the class or ensemble.

5. Celebrate the Small Things In the two years Isabella has been in my partner music class, she has said about 20 words to me. Her yell is my whisper.

She hates to hear her voice, so when we were learning about dynamics I asked her to imitate the dynamic on a drum rather than with her voice. She repeated my forte pattern louder than she has ever played anything—to the point that she startled herself. I applauded and congratulated her and the entire class celebrated with her.

We often celebrate when a student completes a task, answers a question, or even just volunteers to go first. These may seem like small victories on the outside, but celebrating them builds self-esteem and makes students more willing to take a chance the next time. You may find that acknowledg-

ing the small things also helps your confidence level and helps you realize that your students really are getting it.

6. Create Routine and Structure There is safety in structure and routine. Students know what is expected of them and they know what is coming next.

This doesn’t mean to do identical warmups every day or never change your class routine. Simply recognize that changing a routine can create anxiety in some students. Posting a simple schedule on the board and warning the class in the days leading to a significant change may mitigate anxieties. And know that making the room seem smaller (moving from risers to sitting in a smaller circle on chairs) can define the space and calm students with autism.

7. Break It Down Students need to develop many skills prior to achieving a goal. Understanding how to break a larger goal into smaller tasks becomes essential.

Michael Burris, Strickland MS Orchestra Director, creates adapted parts for his students who play at different levels. He adapts the part so it is on all open strings with a color code that matches sticky tabs placed on the instrument bridge. This allows the student to play with the ensemble without becoming frustrated or giving up. The student may then graduate to removing the stickies or adding their hands in first position.

I create cheat sheets that isolate main rhythmic ideas, harmonic ideas, and new music theory takeaways (for example, first and second endings). This allows the student to focus on one element at a time and then eventually layer them back together to read the actual piece of music more successfully. Breaking down an activity is just the first step to addressing a new skill or difficult task.

As Laura Weidel offered in her clinic at a TMEA convention, after breaking an idea down into smaller tasks, you may need to slow the tempo and repeat it to enhance motor memory before putting it all back together and up to tempo. Each step will look different depending on the child, the lesson, and the group. Students with Down syndrome may need more repetition, whereas students with processing disorders may need the tempo slowed down.

Often, our goal has been for everyone to be on the same page at the same level.

However, thatâ&#x20AC;&#x2122;s not real life. Real life is when you realize that your class includes students at different levels and you try to constantly challenge each of them in different ways.

within the lesson or learning target as possible. Verbal learning includes speaking, but it also includes reading. Our subject naturally lends us to easily teach all four learning styles (visual, aural, verbal, and kinesthetic), and this will help all students be more successful.

8. Teach with Different Learning Styles If you focus on the studentsâ&#x20AC;&#x2122; strengths and how they like to learn, it will help keep them engaged and ultimately be successful. Aim to include as many learning styles

9. Use Their Interests I was determined last year to get a particularly grumpy nonverbal student to participate in my class. His one-on-one paraprofessional and his music therapy teacher learned he loves heavy metal music. At the

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44 Southwestern Musician | October 2018

time, I had been including only classical and pop music for examples. Once I began including harder music, coupled with placing his drum closer to his head so he could hear it better and feel the vibrations, his participation improved immensely.

It can be difficult to find materials that are age- and ability-appropriate. Often a studentâ&#x20AC;&#x2122;s reading level or cognitive abilities are at a lower level, but their interests and emotional age equal their peers.

Sometimes you can take an activity geared for a younger age group and change the style, tempo, or rhythms to make it more age-appropriate. I also like to take video examples that show students who are the same age level or older. And donâ&#x20AC;&#x2122;t be afraid to make up your own song or, at the very least, take a popular song and change the words to it. Lately, my closing song for partner music is to the tune of â&#x20AC;&#x153;Weâ&#x20AC;&#x2122;re Not Gonna Take Itâ&#x20AC;? by Twisted Sister.

10. Try, Try Again You get this awesome idea for a lesson that includes kinesthetic, verbal, and visual elements to help with your many different-styled learners. You introduce it, and the entire activity flops. Remember that scientists donâ&#x20AC;&#x2122;t give up just because they find their hypothesis was wrong; scientists change the hypothesis and they try again. Thatâ&#x20AC;&#x2122;s what we need to do, try and try again. So many things can factor into the success or failure of an activity. There was a fire drill or a fight in the hallway, or they simply have a hangnail they are fixated on. These will all challenge the success of your lesson. Just because an idea wasnâ&#x20AC;&#x2122;t immediately successful doesnâ&#x20AC;&#x2122;t mean you should give up on it.

Sometimes when we start to focus more on the individual student learner, we find that our teaching also improves. All the ideas offered above will help your special needs learners and they can also help your ESL/ELL and general education students.

Donâ&#x20AC;&#x2122;t be afraid to try something new.

Helping that one student find success may just help your entire class.

Virginia Thomas has taught Kâ&#x20AC;&#x201C;8 music for 16 years. She has taught behavioral needs music classes and Functional Life Skills music classes in the public school and has taught numerous mainstreamed students with special needs.

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

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Additional dates upon request.

D E P A R T M E N T O F M U S I C BACHELOR’S AND MASTER’S DEGREES IN MUSIC EMPHASIZING MUSIC EDUCATION OR PERFORMANCE

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VOCAL NOTES

B Y

D E R R I C K

B R O O K I N S

The art of collaboration

C

ollaboration is defined as the act of working with someone to produce or create something. As we work with our choirs through this fall semester and get to hear and know new voices, I want to encourage you to think about planning a collaborative project with your fine arts colleagues and your choir. It’s always disappointing to hear about a school where the choral and instrumental directors don’t get along. If you are aware of some potential areas of conflict, it is easy to improve the odds that peace and harmony can rule in the land.

Show support for your instrumental colleagues by keeping the lines of communication open, especially if your programs share one or more students.

Allow me to offer a few ideas and suggestions on how to collaborate effectively.

I’ve had the pleasure of sharing both band (jazz, concert, and marching) and orchestra students who were also in choir. I loved when students who were in Region Band or Orchestra also sang in choir. Not only did these students add to the choral tone of the ensemble, they were excellent sightreaders and a true asset.

An easy way to support collaboration is simply to invite your instrumental colleagues into your rehearsal to offer their opinions. For more than 10 years, I was fortunate to work with an amazing band instructor who, in my opinion,

Whenever team members collaborate, they enhance their capacity to go and grow beyond their comfort zones and take the ensemble to new heights.

46 Southwestern Musician | October 2018

October—Renew your membership and register for the convention.

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

November 1—TMEA scholarship online application deadline.

December 31—TMEA email/mail/fax convention preregistration deadline.

January 12—Area Vocal and Band auditions.

January 24—TMEA convention online early registration deadline.

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

had one of the best musical ears in the business. We shared a true love of and passion for classical music and jazz. I would often invite him to observe my rehearsals. Many times, he was able to point out aspects of the music that the students or I may have overlooked. It was good for choir students to see and hear from our band director in that context. In return, he would invite me to give a lesson or two to his jazz ensemble about vocal scat and improvisation. The high point of this collaboration was in the late fall. Our jazz band and vocal jazz ensemble performed together. This collaboration was good for our students, and it offered our administration and our parent community a great example of our commitment to work together.

If you have an orchestra program on your campus, there are many opportunities for collaborative work with them. One year before a fall concert, the orchestra director was preparing Barber’s Adagio for Strings at the same time I was preparing the choir to sing Barber’s Agnus Dei. Needless to say, this was a collaboration that was meant to be. For one rehearsal, the orchestra director and I traded rehearsals—he rehearsed the choir and I rehearsed the orchestra.

Rehearsal projects like this are always a huge benefit for your students. Invite your instrumental colleagues to play on a concert or competition trip. If the full ensemble is unable to play on a concert because of their busy schedule, invite some of their top students to play. There are many choral works both on and off the UIL list that are accompanied by special instruments.

From clarinet, to oboe, trumpet, percussion, cello, and violin, there are several opportunities to invite these students to work with your choir—a great opportunity for musical collaboration.

This collaboration idea isn’t limited to the high school or middle school campus; it can also reach to our elementary division colleagues. The holiday season can offer many opportunities for your choir to work alongside your local elementary school. I know that many districts across the state often have a citywide children’s choir. Take the time to reach out to that director. See if your ensemble could join with theirs to present a holiday concert for the community. You can always contact your local elementary campus to see if you could bring an ensemble over to perform for their students.

When you and your choir collaborate with other directors and other ensembles, students learn new things from each other.

Your organization becomes a body that encourages a culture of continuous learning and supports that learning through opportunities for growth and development, as well as through safety nets for failures. Whenever team members collaborate, they enhance their capacity to go and grow beyond their comfort zones and take the ensemble to new heights. The greatest beneficiary of this will always be our students.

2019 Clinic/Convention Update I am so excited to introduce our 2019 All-State Choir Conductors. The experiences they will share with our students will be life-changing. As you read about them, remember that during our convention, you can attend their rehearsals and learn from them in action. If you haven’t already registered for the convention, do it today! Also, be sure to reserve your hotel through the discounted convention hotel reservation system. That system is available October 1 at 6 a.m. CT at www.tmea.org/housing.

María Guinand All-State Mixed Choir Conductor Venezuelan choral conductor María Guinand developed as a choral conductor under the tutelage of Alberto Grau. She had her musical studies in Venezuela and England, where she obtained her bachelor of music degree and her master of music degree at the University of Bristol. She studied choral and orchestral conducting with Helmuth Rilling and interpretation of Gregorian Chant with Luigi Agustoni (Switzerland) and Johannes Berchmans Goeschl (Germany).

Guinand is a choral director, university professor, and director of many choral projects at national and international levels. She has developed an intense teaching activity in the areas of music theory, analysis, history and aesthetics of music, harmony, and choral conducting. She has held important positions in national and international choral organizations and is continuing to deliver workshops, conferences, and conduct concerts of symphonic and choral repertoire.

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YOUTH CHOIR

FESTIVAL FOR TREBLE VOICES, GRADES 4-12

featuring BOB CHILCOTT 2019 Festival Conductor SATURDAY, JANUARY 26, 2019 9:30 AM - 5:00 PM JACKSON AUDITORIUM For more information, contact Laurie Jenschke at ljenschke@tlu.edu or 830.456.3016.

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To register online, go to www.tlu.edu/cma and click on the Youth Choir Festival link.

Southwestern Musician | October 2018 47

Anton Armstrong All-State Treble Choir Conductor Anton Armstrong, Tosdal Professor of Music at St. Olaf College, became the fourth conductor of the St. Olaf Choir in 1990 after ten years in Grand Rapids, Michigan, where he served on the faculty of Calvin College and led the Calvin College Alumni Choir, the Grand Rapids Symphony Chorus, and the St. Cecilia Youth Chorale. He is a graduate of St. Olaf College and earned advanced degrees at the University of Illinois (MM) and Michigan State University (DMA). He is editor of a multicultural choral series for Earthsongs Publications and coeditor (with John Ferguson) of the revised St. Olaf Choral Series for Augsburg Fortress Publishers. In June 1998, he began his tenure as founding conductor of the Oregon Bach Festival Stangeland Family Youth Choral Academy.

Sandra Snow All-State Tenor-Bass Choir Conductor As a conductor, teacher, and scholar, Sandra Snow’s work spans a wide variety of ages, abilities, and music. She holds appointments in conducting and music education at the Michigan State University College of Music, where she interacts with undergraduate and graduate students in the areas of conducting, choral pedagogy, and choral singing. She is a recipient of the MSU Teacher-Scholar Award. She conducts the MSU Women’s Chamber Ensemble, a group that has appeared as featured performers at American Choral Directors Association conferences (Central Division 2014; National Conference 2009; Central Division 2008; MI-ACDA 2007).

Jeffery Ames All-State Small School Mixed Choir Conductor Jeffery L. Ames serves as Director of Choral Activities at Belmont University. His prior

appointments include Assistant Director of Choral Activities at Baylor University and Director of Choral Activities at Edgewater HS and Lincoln HS in Florida.

As a choral clinician, Ames has conducted senior and junior high school mixed and male choirs at the state and regional ACDA conventions and the Music Educator’s National Conference, including the inaugural Florida Male All-State Chorus (2005). He has performed internationally in Italy and Costa Rica. An accomplished accompanist, he has performed with well-known conductors such as André Thomas, Allen Crowell, Dan Krunnfusz, Lynne Gackle, and Bradley Ellingboe and with Anton Armstrong and the 2007 Texas All-State Mixed Choir.

With a growing reputation as a distinguished and well-respected composer and arranger, Ames’s music has been premiered by the Florida Music Educators Association, the Florida American Choral Directors Association, and the Southern Division of ACDA and at National ACDA Conferences. His compositions and arrangements are published by Colla Voce, Earthsongs, Santa Barbara Music, and Walton Music.

Southwestern Musician | October 2018 49

Mentors Help Lead the Way to Success

by Lynne Jackson

H

ow long does it take to get really good at what you do? According to Malcolm Gladwell, famed author of Outliers: The Story of Success, it takes about 10 years or the equivalent of 10,000 hours of earnest practice at your craft to achieve extraordinary greatness. And while we might not all be aiming for that level of exceptionality, we can still recognize the importance of dedicated practice to develop expertise in our field. Given that, it’s no wonder that in their early years teachers aren’t always equipped with the skills needed to be effective, successful, and comfortable.

Over the past 15 years, I’ve had the opportunity to mentor a variety of teachers new to the profession and college students seeking degrees in music education. Primarily, I have learned that teaching is about relationships. What follows are some other things I learned.

Why Mentor? Why Have a Mentor?

Whether mentoring by choice or being cast into the role of mentor, no one can deny the importance and significance of actively mentoring those new to the profession or new to a school.

A second-year teacher in essence becomes a mentor to a first-year teacher—this is undeniable and often exciting for the more experienced teacher. While the following information might appear to be intended for mentor teachers, it’s also relevant for new teachers because it’s important to know what they can and should expect from their mentors.

Don’t Judge A mentor must not impart a self-fulfilling prophecy upon a mentee. I believe it is impossible to determine how good a teacher can become based on the early years of teaching. It is unreasonable to say or even think, “This teacher will never be any good.”

Thoughts like this will get in the way of the mentor’s effectiveness and can become projected on a new teacher. Those new to the profession should continually be aware that becoming a seasoned educator is a process. Through this process, teachers must give themselves permission to fail, to succeed, to stumble, and to fly. A mentor teacher’s role is in great part to provide hope and encouragement to their mentees and to celebrate their victories, no matter how small!

A first-year teacher can be a good teacher. Think about it! For what a new teacher may be lacking in information, skills, and experience, they abound in enthusiasm, energy, and excitement!

Mentors must capitalize on the new teacher’s positive traits and work not to diminish them. As

Southwestern Musician | October 2018 51

you work with a new teacher, you must: • Give your time: This is essential. The level of commitment to your mentee will most assuredly be determined by the amount of quality time spent together.

• Give your ear: When I have taken the time to carefully listen instead of continuously giving instruction, I have become more effective in meeting a young teacher where they are and consequently, together, we are able to proceed in a more beneficial way.

• Give your respect: A teacher must always be perceived as an expert in front of students. Always keep this in mind while observing classes and be sure to save your criticism and personal remarks for a private time.

• Give hope: There must always be hope.

The Mentor as Sherpa There will certainly be mountains to climb for anyone to become a master teacher. A mentor might consider them-

selves as a Sherpa—one who has made the climb, faced the obstacles, encountered the pitfalls, and often taken the longer, much harder route. As a mentor teacher, I have to remind myself that new teachers must make the climb themselves. That climb can often be painful to watch, and the mentor will be motivated to jump in and rescue.

However, failure is often a very effective teacher, and allowing the experience is not necessarily catastrophic. Failure can be a powerful catalyst for growth. A good mentor knows when to save a mentee from themselves and when to let them be.

The Most Powerful Tool I believe that a mentor teacher’s greatest tool is to lead by example. People tend to take on qualities and attitudes of those who surround them, and this is particularly true for teachers new to our profession. I encourage new teachers to stay away from negativity and consequently immerse themselves in learning the craft. We should seek to fill our heads with creative, intuitive, and meaningful thoughts on teaching that propel us forward. Negative behavior tends to weigh us down and wear us out.

We Must Adapt When you mentor a new teacher, you will learn that one size does not fit all. During my experiences as a mentor teacher, many different personalities have emerged from my mentees. I find that I must adapt my mentoring style based on each person’s needs and willingness to grow. Here are a few of the most common personality traits of those I have mentored.

(I encourage new teachers reading this article to examine themselves as they read.

This could be enlightening.)

Some teachers want you to see only certain aspects of the music program and might limit what is accomplished during a rehearsal, hoping for only the best aspects of their teaching to be revealed. As in any relationship, trust is a huge factor, and in this instance a mentor must, over time, build trust, gently and sincerely. It will take patience and time, but it is well worth it.

Other teachers, when being encouraged to try something new might respond, “Yeah, I tried that, but it didn’t work!”

These teachers often seem fixed on their methods and have difficulty developing a

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52 Southwestern Musician | October 2018

growth mindset. An effective way to mentor these individuals is to ask a series of leading questions that direct the mentee to arrive at their own conclusions. This process can be powerful in that it gives a sense of ownership to the teacher. Although this personality may seem to have all the answers, there may come a time when they confess they need your help. At this moment a door has opened for the mentor—rush in!

And, finally, there are the new teachers who just happen to be my favorites!

They want to know anything and everything to help them be better teachers for their students and better leaders for their program. A mentor can be brutally honest with these teachers and assist in providing a clear and direct path for growth.

It is the fastest way up the mountain. A mentor has great liberty with these teachers, so in the moments where criticism is needed, be sure the information you offer is demonstrable, not personally hurtful.

Always leave your mentee with a sense of hope.

Classroom Management/ Rehearsal Techniques Quite often an inexperienced teacher’s classroom strategy is based on the idea that once the students are able to behave, only then can they be properly taught. I encourage teachers to just start teaching! The quality of the instructional content, coupled with an inspired delivery, is directly proportionate to the level of interest and excitement experienced by the students.

We teach music—one of the most exciting subjects on the planet! Ideally, our curriculum has built-in classroom management. With a toolbox full of information and a teacher’s passion, it is possible for even the less experienced teacher to successfully motivate and inspire their students.

Pedagogy A teacher’s most powerful tool in the classroom is information. Information makes a teacher the expert in the room.

Do everything possible to learn about the instruments you teach and the ensembles you prepare. For those I mentor, that means showing up for every pedagogical growth opportunity. Attend conferences, take lessons, observe others, read articles, watch videos, ask questions—these are impera-

tive if you hope to acquire the knowledge and skills to become the teacher your kids deserve.

Professionalism The world of teaching requires that we be on our best behavior. We distinguish ourselves as professionals by our choices of attire and language and by the respect shown for our students, parents, and colleagues. A true professional shows up on time, prepared, and excited to teach each day. It is often difficult for those transitioning to teaching to hold themselves to these standards. However, once attained, these behaviors make the world of teaching much more comfortable and satisfying.

A Final Thought Keep in mind the relationship developed between a mentor and their mentee will be reflected in an ever-increasing sphere. Like the ripples created by a stone thrown into a pond, a mentor’s influence will expand, touching many lives, perhaps for generations to come.

Lynne Jackson is Adjunct Assistant Professor of Music Education at Southern Methodist University and Mentor Teacher at Berkner HS, Richardson ISD. Statement of Ownership, Management, and Circulation (All Periodicals Publications Except Requester Publications) 1. Publication Title

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Time Management, Planning, and Preparation Any teacher will tell you that using time wisely to successfully plan and prepare for classes can be a source of concern and, very often, frustration. Be sure that your mentee keeps a calendar; this sounds obvious but, surprisingly, I have worked with those who have not. Young teachers will need help with prioritizing their days, weeks, and months. This will take time and the mentor as Sherpa can lead the way, saving many missteps for the young teacher. Daily lesson plans are essential for each class. Encourage your mentee to save a particular time each day for reflection and planning.

Communication One of the most important skills necessary for any teacher is the ability to successfully communicate in an appropriate manner. As a young teacher, I learned many hard lessons because I didn’t possess the maturity and experience to make good choices with my communication. With the power of social media, I advise new teachers to strictly follow their district’s guidelines.

Additionally, all written communication should be proofread by a more experienced and knowledgeable colleague.

As for email, never respond to an angry email quickly. Cool off, and then pick up the phone for a more personalized conversation.

Any serious situations should be reported to the principal, so they are aware before receiving a call from a parent. Try always to take the high road.

9. Full Names and Complete Mailing Addresses of Publisher, Editor, and Managing Editor (Do not leave blank) Publisher (Name and complete mailing address)

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ELEMENTARY NOTES

B Y

C A S E Y

M E D L I N

Hosting a folk dancing event

E

very year I host a family folk dancing night at our school. Students, teachers, parents, and other community members come together for a night of fun and dancing. It is by far my favorite event of the year, and it is so easy to facilitate!

On my campus, the third-grade students are the performers/dance leaders. We start by learning the dances during their class time. I plan no less than eight weeks to teach five dances. You may need more time if your students don’t have a lot of experience with these sorts of dances. If you decide to hold a similar event, my best advice is to plan to teach everything. You’ll need to teach how to form a circle, how to walk in a circle, how to choose a partner, what to do if you don’t have a partner, how to slide down while in a longway set, and more. When I first started teaching these dances, I assumed my students would know how to follow each other around a circle. I was so wrong! Bonus tip: never tell your students to “hold hands.” Holding hands implies a level of intimacy many students find uncomfortable. Instead of asking my students to hold hands, I ask them to “close the circle” or to “take hands.”

When teaching dance steps, use consistent terminology. Phyllis Weikart’s

Hosting a family folk dancing night is a great way to draw attention to your program and engage your community.

54 Southwestern Musician | October 2018

October—Renew your membership and register for the convention.

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

November 1—TMEA scholarship online application deadline.

December 31—TMEA email/mail/fax convention preregistration deadline.

January 24—TMEA convention online early registration deadline.

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

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Teaching Movement and Dance is an amazing resource for a step-by-step guide on teaching dances. You can find videos of her teaching on YouTube. The New England Dancing Masters also have a series of books filled with dances from around the world.

Try to select a variety of dance formations when choosing dances. I like to start with a scatter mixer and then move to a simple single circle formation. A dance in a longway set would be next, followed by a line dance, and then a square dance. Also, make sure to choose dances from different cultures to keep things interesting!

Although it may seem daunting, hosting a family folk dancing night is a great way to draw attention to your program and engage your community. Ultimately, it’s just a lot of fun!

TMEA Clinic/Convention Update I hope you’ve registered to attend our convention February 13–16 in San Antonio. Each year, our event grows, and we find new ways to make it even better! Be sure to make a convention hotel reservation early! TMEA’s housing system opens October 1 at 6 a.m. CT, and if you haven’t attended before, know that our discounted hotels sell out, some in a matter of hours!

Last month, I introduced Tracy King, one of our two 2019 Elementary Division Featured Clinicians. This month, I’m pleased to offer more about Jerry Kerlin,

Is Your Membership Current?

Remember to renew your TMEA membership and remind your music colleagues to do the same.

All memberships expired on June 30, and liability insurance purchased through TMEA expired August 20. When you renew, also register for the TMEA convention.

56 Southwestern Musician | October 2018

our other Featured Clinician. Be sure to read through his biography and the answers to a few questions I posed. I look forward to learning so much from each of these fantastic educators!

Jerry Kerlin Featured Clinician Jerry Kerlin founded and continues to serve as Director of the Kodály Summer Institute at New York University—just having celebrated the 30th summer. He also serves as Chair of the Music Department at Manhattanville College, Purchase, New York. He has completed BS and MA degrees in music education at Washington University, the Kodály Diploma at the University of Calgary, and a PhD in music education at New York University. His dissertation resulted in the monograph The Transmission of Song Among the New York Irish: Teaching, Learning, and Irish Sensibility (Akademiker Verlag 2008).

Previously, he chaired the Music Theory/ Literature Department of the Third Street Music School Settlement in Manhattan, and he taught at the Spence School in New York City, Westminster Choir College of Rider University, and the University of Calgary. He is an active presenter for school music in the New York area and Canada.

He has completed four trips to Budapest and Kecskemét, Hungary, to study at the Kodály Institute of the Liszt Ference Academy. Research interests include folk pedagogy, Irish traditional music, song, and dance, world musics, and the psychology of the teaching and learning of music.

He cofounded the Kodály Organization of New York (KONY) and has served as OAKE Eastern Division President, OAKE Board Member, and Board Member of the Kodály Society of Canada. Kerlin works to guide musician-educators-in-training toward owning a philosophical base, knowing a body of musical literature to support the study of music elements, and being experienced in designing music activities that will ignite the wonder of the music students with whom they will one day work.

What first attracted you to music education?

From childhood, when we would play school and I would get a turn as teacher, I knew I loved to serve as mentor to other

learners. By age 16, I held a deep conviction that I would take on the profession musician-educator (being equally a musician and a facilitator of learning). This conviction became reality in my undergraduate and graduate college years at Washington University and a one-year study at the École Normale de Musique de Paris. As many of my college students now share with me, I wanted to continue passing it on (McCarthy 1999)—gifting others with the deep love of making music.

What is your favorite thing about teaching kids? Adults?

Children fascinate me—how they focus for long periods of play, how they express wonder at anything and everything, and how they invent narrative with patches of music. They hold such freedom with music, and they share feeling-filled responses to all styles of music making.

Adults surprise me when they can recover that music freedom of childhood, when they can find their affective selves through the act of musicing.

Is there anything you wish you had known early in your career?

An earlier experience with the “mother-tongue methods” (JaquesDalcroze, Kodály, Orff, Suzuki) and with the Manhattanville Music Curriculum Program would have given me a jump start on the processes that have guided my teaching (facilitating).

What advice would you give someone new to the profession?

Become bimusical or polymusical— fluent in music styles other than the one(s) with which you grew up. Expand your cultural music(s) to as many styles from the world as possible. Treat music and movement/dance as one. Improvise. Compose.

Arrange. Explore new music and ideas about music up to your last days on the planet.

Any last thoughts?

I strongly believe that in the teaching and learning of music we must transmit to students more than facts, concepts, and skills. We must give our students questions. We must foster wonder, the same wonder they operated with as little children.

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COLLEGE NOTES

B Y

V I C K I

B A K E R

Words of wisdom

W

henever I stand in front of a class of music education majors, I feel a sense of urgency to impart as much knowledge as I possibly can in the limited amount of time we meet. I want to ensure my students will be informed and effective music teachers. As I reflect on my classroom performance at the end of each day, it sometimes feels like I have exhausted my daily quota of words, yet I wonder if the words I chose will be retained and come to mind when needed.

What Did You Say? During my first week as a high school choral director, I recall enthusiastically discussing the circle of fifths, simple and compound meter, major and minor scales with corresponding hand signs, and the names of the lines and spaces on the grand staff. I believed I was making great headway in that the students were sitting quietly and politely listening to everything I said. However, my euphoria quickly dissipated when my bass section leader, a junior who had been in choir for the previous two years, raised his hand and said, “You keep talking about notes. Do you mean those little circles on the page?” I had been teaching students all week, but I had used words that were not in their vocabulary. While they had listened, they had not understood.

Words can lead to confusion if they aren’t in a student’s vocabulary. On the other hand, words can empower, enlighten, and inspire.

58 Southwestern Musician | October 2018

October—Renew your membership and register for the convention.

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

October 12—College Division Fall Conference in Austin.

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

November 1—Deadline for Collegiate Music Educator Award nominations.

November 1—TMEA scholarship online application deadline.

December 31—TMEA email/mail/fax convention preregistration deadline.

January 24—TMEA convention online early registration deadline.

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

Teachers depend on words to communicate. However, words can lead to confusion if they aren’t in a student’s vocabulary.

On the other hand, words can empower, enlighten, and inspire. As I consider the volume of words I have heard both in instructional settings and in informal interactions, I find that the words I can readily retrieve and apply universally are in the form of proverbs.

According to dictionary.com, a proverb is “a short popular saying, usually of unknown and ancient origin, that expresses effectively some commonplace truth or useful thought; a wise saying or precept.”

I find it ironic that my training and teaching are based on current, researchbased pedagogy from thoroughly vetted sources, yet the clearest ideas I engage with are colloquial. The teachings found in those sage sayings have provided me with inspiration, direction, determination, and resolution. Those are the words that come to mind when I am facing a personal challenge or when I am counseling others.

Speaking Words of Wisdom Early in my teaching career, I was the choral director at an inner-city high school. Musical talent abounded among these students; however, many of them faced daily struggles for survival. While it was my job to train them musically, I quickly realized I was going to have to address matters of their spirit and attitude first. I thought about what nourished my soul and motivated me to keep going when I wanted to quit. Proverbs.

I proceeded to make a list of the proverbs I believed would resonate with my students. Then I wrote a different quote on the board every Monday. That was our Quote of the Week. The students were required to write the quote on a page they kept in their folders and we would recite the quote daily. On their six-weeks exam, they were required to write the six quotes we learned during that period.

Four years later, I was invited by Monica, one of my choir students who was at the top of her class, to attend a banquet honoring teachers of influence. As she escorted me to the front of the hall to receive my plaque, the emcee read an excerpt from Monica’s essay explaining why she had selected me. Monica said that the most beneficial thing I had taught her was through the weekly quotes she learned

and recited during the four years she had been in choir. And, the quote she found most beneficial was “Never, never, never quit.” I had imparted proverbs that had a much deeper message, but that taught me that sometimes the simplest can be the most profound.

Words of Inspiration An activity I now include in my Introduction to Music Education course is “Inspirational Quotations.” My students submit 15 quotes they find meaningful. I then provide students with my list and they

are given access to the quotations of their classmates. From this pool, they select the 36 quotes they find most meaningful and create a list—one for each week of school.

Spend a moment thinking about the adages that have guided you through life.

What are some of the maxims your music teachers shared repeatedly? Why have you retained those words throughout your life?

What proverbs have you shared with your music students?

Consider having your students complete an inspirational quotations assignment. My students have provided positive

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Southwestern Musician | October 2018 59

feedback about retrieving the inspirational words imprinted on their minds by their music teachers and others. As pre-service music teachers recognize the influence of proverbs on their development, I am hopeful that they will feel compelled to share words of wisdom in their future music classrooms.

Given what I have professed throughout this article, I would be remiss if I did not share my favorite 15 quotations. These adages come from a variety of sources, including family members, teachers, friends, and books, and are reproduced from memory, and thus may not be an exact duplicate of the original: 1. Never, never, never quit.

6. The journey of a thousand miles begins with one step.

7. Focus on the things that you can control.

8. Plan your work and work your plan.

9. When you fall, get up, dust off your clothes, and try again.

10. Do not put off to tomorrow what you can do today.

11. The greater the challenge, the greater the reward.

12. If you do not ask, the answer will always be no.

13. If you do not step forward, you will always stay in the same place.

2. Persistence pays.

14. Failure is not falling down, it is refusing to get up.

3. A sign of maturity is taking responsibility for your own actions.

15. If you have to ask yourself if something is wrong, it probably is.

4. Fix the mistake, not the blame.

5. By the yard, life is hard. By the inch, life’s a cinch.

My final words of wisdom are often attributed to famous Greek philosopher and educator Socrates, “I cannot teach

2019 TMEA CLINIC/CONVENTION Pedagogical Clinics Research Poster Session College Division Meeting Extraordinary Concerts Networking Opportunities Huge Exhibit Hall

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anybody anything; I can only make them think.”

College Division Fall Conference The annual College Division Fall Conference begins at 10 a.m. on Friday, October 12, at the TMEA headquarters in Austin. If you plan to attend and have not sent an RSVP, please email me immediately (vbaker@twu.edu) so we can have an accurate count for the catered lunch.

The agenda will include a report on the state legislative session, highlights of the 2019 TMEA Clinic/Convention, updates to the TMEA website, and plans for the upcoming Centennial celebration in 2020.

We will have breakout sessions in which committees and interest groups can meet to discuss issues and share ideas. This meeting provides a great opportunity to network with colleagues from public, private, two-year, and four-year institutions and gain new perspectives on challenges we face in teacher education.

Clinic/Convention Housing Housing for the 2019 TMEA Clinic/ Convention opens on October 1 at 6 a.m.

CT. Rooms allotted for the TMEA convention fill quickly, so reserve a room at www.tmea.org/housing as soon as possible. If convention housing is unavailable, check the site regularly for possible cancellations or additions.

TMEA Research Poster Session The deadline for submitting proposals for the 2019 TMEA Research Poster Session is October 15. Go to www.tmea.org/papers to submit your abstract.

The 2019 Research Poster Session will be held on Thursday afternoon, February 14, in the CC Stars at Night lobby. This location and configuration provides greater accessibility to posters and presenters and accommodates a larger number of attendees.

TMEA Collegiate Music Educator Fall Deadline Nominations for the Collegiate Music Educator Award are due on November 1.

Criteria for the award include TMEA membership, graduation in Fall 2019, minimum of 3.5 GPA, and involvement in the local music education community.

Further information about the nomination and submission process is available at www.tmea.org/collegiateaward.

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