February 2015 Southwestern Musician

FFEBRUARY EBRUARY 2015

The Future of Music Education in

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• The only K-5 music curriculum reviewed by TEA to receive 100% TEKS compliance!

TEKS Correlation for each lesson • Texas Songs

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by TEA under Proclamation 2015!

• Commitment to Accessibility as set forth in Proclamation 2015 • Texas History and Key Figures • Mariachi Group Performances

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Get FREE ACCESS to our Texas QK-5 Curriculum Sample through March 2015!

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40 FEATURES

FEBRUARY 2015 VOLUME 83 — ISSUE 7 On the cover: TMEA President-Elect Keith Dye, President Janwin Overstreet-Goode, and Past-President Joe Weir. Photo by Karen Cross.

COLUMNS President’s Notes .............................................. 5

by Janwin Overstreet-Goode

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Tutti

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Campanas de América to Perform

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Is Choir on the Sidelines in Small Town, Texas?

TMEA members offer their experience in helping students reduce tension in their playing and singing and in how they manage teaching large classes.

Make time in your Friday schedule to attend a special performance by this nationally recognized mariachi sensation.

Learn how this director successfully built a choral program in a small West Texas town and gain perspective from other small-school directors as well.

BY ALLISON JOHNSTON

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All Learners Can Succeed in Music Class $ FHUWLÀHG PXVLF WKHUDSLVW RIIHUV VWUDWHJLHV IRU VXFFHVVIXOO\ including students with special needs in all levels of music class.

BY LAURA MEEHAN

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Music in the Education Evolution The digital age is transforming the once rigid, institutional educational paradigm, and music education is inherently designed to take the lead in this change.

BY ANN CLEMENTS

Executive Director’s Notes..................11

by Robert Floyd Band Notes ............................................................. 17

by Andy Sealy

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

Orchestra Notes .............................................. 33

by Craig Needham Vocal Notes ............................................................51

by Dinah Menger

Free Convention Parking & Shuttle ..............................................................2 Electronic Voting for President-Elect ............................................................6 2015 Clinic/Convention: What to Know Before You Arrive .........................8

Elementary Notes ...........................................65

by Colleen Riddle College Notes ......................................................78

by Michele Henry

TMEA’s Tesa Harding Awarded International Association Honor ............ 13 2015 President’s Concert Featuring the Swingle Singers ....................... 55 Southwestern Musician | February 2015

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

Managing Editor: Karen Cross

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

TMEA Executive Board President: Janwin Overstreet-Goode MRYHUVWUHHW JRRGH#ÀVGN QHW 1406 Frontier Lane, Friendswood, 77546 281-482-3413 x 150/Fax: 281-996-2523 – Friendswood HS

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

Past-President: Joe Weir joseph.weir@humble.k12.tx.us 19627 Firesign Drive, Humble, 77346 281-641-7606 – Atascocita HS

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

Orchestra Vice-President: Craig Needham Craig.Needham@richardson.k12.tx.us 1600 E Spring Valley Road, Richardson, 75081 469-593-7028 – Berkner HS

Vocal Vice-President: Dinah Menger d.menger@sbcglobal.net 1305 Westcrest Drive, Arlington, 76013 817-891-1095 – Baylor Univ

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

1. Now: Create a personal schedule online. • Go to www.tmea.org/convention • Click on the Online Convention Schedule link • Click on the Personal Convention Schedule link • Enter your TMEA member ID and password • Create a schedule of sessions you wish to attend

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

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

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

Elementary Vice-President: Colleen Riddle criddle@aldineisd.org 319 E North Hill Drive, Spring, 77373 281-985-6107 – M.O. Campbell Ed Center

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

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

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

Free Convention Parking with Shuttle Service Alamodome Lot B Free parking is available at the Alamodome Lot B, and TMEA provides free shuttle service from this lot to the convention center.

NOTE: With road construction, the Alamodome walkway to the convention center is obstructed. Plan to wait for shuttle service. Check the convention webpage Directions and Parking section before you leave for more information on road closures and walking detours.

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

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

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

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Southwestern Musician | February 2015

T E XA S

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A comprehensive music environment in one of America’s great music cities. Work with exceptional studio teachers, music educators, conductors, and scholars to achieve your dreams.

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Areas of study: Music Education, Music Therapy, Performance, Pedagogy, Liberal Arts

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Scholarship and Entrance Auditions: February 28, 2015

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DEPARTMENT OF MUSIC AND DRAMA RT

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

Auditions are required of all entering and transferring music majors.

S A T U R D AY

F R I D AY

S A T U R D AY

February 28, 2015

March 6, 2015

March 7, 2015

( V O I C E O N LY )

B AY L O R S C H O O L O F M U S I C B AY L O R P R E S E N TAT I O N S / P E R F O R M A N C E S AT T M E A 2 0 1 5 FA C U LT Y PA R T I C I PAT I O N :

Thursday, February 12

Friday, February 13th

Saturday, February 14

MICHAEL ALEXANDER AND RUSSELL GAVIN 10:00-11:00am, Room CC 001 Good Cop, Bad Cop Part I: Discipline in the Ensemble Classroom

KENT ESHELMAN 2:30-3:30pm, Room CC 008 Buzzin’ the Blues Away: Strategies for Success in Low Brass

ALEX PARKER 4:00-5:00pm, Ballroom B Conducting the TTCBDA All-State Jazz Ensemble (Texas Two-Year Band Directors Association)

MICHAEL ALEXANDER AND RUSSELL GAVIN 1:00-2:00pm, Room CC 001 Good Cop, Bad Cop Part II: Discipline in the Ensemble Classroom BAYLOR CLARINET CHOIR PERFORMANCE 4:45-5:30pm, East Registration

ERIC AND LYNETTE WILSON 2:30-3:30pm, Room CC 213 “Am I on the Crazy Train: Psychological Aspects of Teaching” JUN QIAN AND ERIC WILSON 4:00-5:00pm, Lila Cockrell Hall Jun Qian, clarinet soloist with Robinson School District Honor Band, Eric Wilson, conductor

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

Friday, February 13, 9:00pm Rio Grande Room of the Hyatt-Regency

S T U D E N T PA R T I C I PAT I O N :

Saturday, February 14 VANESSA TODORA (BU), JACOB ANGEL (BU), STEPHANIE ASSLIN (DBU), AND AUBREY KISTLER (TCU) 11:00am-12 noon, Room CC 213 “Rejuvenating Your Collegiate Music Education Organization”

T M E A O F F I C E R S F R O M B AY L O R DINAH MENGER Vocal Division Vice-President

MICHELE HENRY College Division Vice-President

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

With age comes wisdom B Y

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hen I was a young teacher, I thought I had the tiger by its tail, the world on a string, and that I knew everything I needed to know to be the best teacher in the world.

Now, a quick 34 years later, I smile gently at that naive young teacher—she had a lot to learn!

What have I learned that I would share with that young teacher today? First, that every school and every job is different. Each has its own personality, which is largely dependent upon the building administration and the makeup of the faculty and the student body. Even within the same school district, and within the same age level, programs can be vastly different. Lucky is the music educator who finds the perfect niche, but most of us have to modify our methods and expectations to fit into the needs of each school.

Learn how to work cooperatively with your fine arts colleagues on your campus as well as within your discipline across your district. Be supportive of fellow music educators in all their endeavors. Work together to solve calendar scheduling issues; use a little give-and-take when necessary. Share students equally and fairly; don’t put the student in a position of having to make choices of one music course over another. Also, work cooperatively with other subject area teachers and extracurricular sponsors on campus—you may need a favor from them one day.

Make friends with the secretaries and custodians on your campus; they are the people who can make your life easier. Treat them courteously and with respect.

I would also tell that young educator that all students are special but that none is more important than any other. It is a challenge to make each student feel as if they are the most special and important student in your program, but that is our responsibility as educators. We should challenge each student to be the best they can be each and every day.

Whatever announcements or information you need to share with your students, write them down so that you are consistent from class to class. When you

PRESIDENT’S NOTES IMPORTANT DATES February 11–14—TMEA Clinic/Convention in San Antonio.

March 1—Texas Music Scholar application available online.

March 4–5—Arts Education Days at the Capitol.

April/May—Attend your spring Region meeting.

April 1–June 1—Submit clinic proposals for the 2016 TMEA Clinic/Convention.

It is a challenge to make each student feel as if they are the most special and important student in your program, but that is our responsibility as educators.

Southwestern Musician | February 2015

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Electronic Voting for President-Elect www.tmea.org/election

Following the First General Session on February 12, TMEA will email every active member eligible to vote a unique link to their PresidentElect ballot. Once a link has been used, any subsequent use of that link will not be processed.

If you are attending the convention, be sure you can access the email account we have on record for you remotely (on your personal device or over the Internet on computers we provide in the registration area).

Go to www.tmea.org/election to view the election procedures created by the TMEA Executive Board. need to make announcements at a concert, create a script so that you don’t forget to acknowledge someone or to remind your audience members to turn off their cell phones.

In your communications with parents and students, be judicious in your choice of words. Never send an email or text in haste—always read over it more than once. When meeting with parents, consider having a second party present, especially if you expect the meeting to be confrontational. Keep a record of phone conversations, with detailed notes as needed.

Be careful if you start new programs or traditions—once you start a new activity or event, your students and parents will

expect you to repeat it the next year. Don’t take on more projects than you can comfortably manage.

When you go to a new school, if it has been a successful program, do not make too many radical changes the first year.

There may be reasons why certain programs and traditions were established.

Each school district and community is different, and the expectations for the program may be grounded in local needs.

Always know what you look like from the back wearing your concert attire—this is your audience’s view at your concerts and performances. And what may fit appropriately for one concert may not by the next event (as I have discovered, more than once, to my great dismay).

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“This is the best choir camp I have been to, it’s the reason I want to come to Texas Tech for music. Thanks for a great 4 years!”

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Southwestern Musician | February 2015

Stay abreast of current technology.

When I started teaching, I used a mimeograph machine. It turned your hands purple and smelled great! We completed our UIL forms on a typewriter (and if you made a mistake, you either used WiteOut or started over). When we needed to communicate with parents, we had to type letters and mail them home. Tape recorders were new and exciting inventions. Now, the computer controls my life, and communicating with parents is simple; correcting mistakes is as easy as using the delete key. Recording concerts and rehearsals has also become much easier.

Work closely with your booster club or parent organization. Ultimately, their activities and actions are your responsibility and reflect upon you. Make sure they comply with all legal requirements to keep both you and them safe.

Be a faithful steward of your program’s finances. Keep careful and accurate records. Follow your district’s guidelines in all financial matters. Never put yourself in the position of having to defend your actions.

On a lighter note, masking tape will be your friend, as well as Scotch, duct, and gaff. You will find many uses for tape, from marking off seats for concerts, to posting announcements in your rehearsal room, or even making quick repairs on equipment. Also keep extra batteries on hand, especially if using multiple microphones in a performance.

There is still much to learn, and I find that my students are often the best teachers, especially when it comes to new technological advancements. New literature is available for our perusal on a daily basis, as well as new and improved teaching methods. The Internet has made repertoire selection quicker and easier in many ways.

And finally, remember to thank those who help you along the way. As I end my term as TMEA President, my thanks go to Jo Scurlock-Dillard, Sally Schott, Denise Eaton, and Joe Weir for their unfailing support and encouragement. Robert Floyd and the entire TMEA staff have made my time on the TMEA Board an amazing experience. My husband, John, has been unwavering in his support, and my daughter, Catherine, was the reason I decided to seek a state office in TMEA. Thank you all!

We are Musicians!

Department of Music 2014-2015 Auditions December 6

February 21, 28

May 2

Woodwinds, Brass, Percussion, Strings

All Areas: Voice, Woodwinds, Brass, Percussion, Strings

Non-Scholarship Auditions for: Woodwinds, Brass, Percussion, Strings

The University of Texas at San Antonio 210.458.5333 http://music.utsa.edu

TMEA Clinic/Convention INCLUDING THE TI:ME MUSIC TECHNOLOGY NATIONAL CONFERENCE F E B R U A R Y 11 –14 • S A N A N T O N I O

What to Know Before You Arrive REGISTRATION HOURS

On-site Registration Fees • Active music educators: $70

TMEA Clinic/Convention

• Retired music educators: $15

Wednesday: Thursday: Friday: Saturday:

• Out-of-state attendees: $70

1:00 p.m.–9:00 p.m.

7:30 a.m.–5:00 p.m.

7:30 a.m.–5:00 p.m.

7:30 a.m.– 2:00 p.m.

TI:ME Technology Preconference Wednesday, 8 a.m.–3 p.m., Room 204 (separate from TMEA registration)

Badge Pickup

• College student member: $0 (included in $20 membership) • TI:ME Technology Preconference: $50 (paid separately in the foyer of CC 204)

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• Preregistrants: Pick up your badge by the last name on your member record.

• On-site: If you didn’t preregister, register at a computer kiosk to get your badge.

• TI:ME Preconference: For this Wednesday event, you’ll get a separate badge at the TI:ME registration outside CC 204 on the second floor—this badge will not permit entrance to the exhibit halls. TMEA badge not required to attend the preconference.

Family Members Badges for family members of registered attendees are $10 each (as long as the family member is not also a music educator, music minister, musician, or college music student).

Children under 12 are free.

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

Payment Types • Accepted payment types for TMEA registration are: Visa, MasterCard, AMEX, Discover, personal or school check (checks may be run same day), and official, signed purchase orders.

• TI:ME Preconference cannot be paid from the same check as TMEA registration and cannot be paid for by purchase order.

Free Parking/Shuttle Park for free at the Alamodome Lot B. TMEA provides free shuttle service Thursday–Saturday. This lot does not include security, so don’t leave behind any valuables. Note: With convention center construction, the Alamodome walkway to the convention center is obstructed. Plan to wait for shuttle service. Check the convention webpage Directions and Parking section before you leave for more information on road closures and walking detours.

Schedule & Mobile Guide From www.tmea.org/convention, you can create a personal schedule, retrieve it for editing, and print it. This is the first step in creating your CPE record. You can also download the convention mobile guide to a mobile device for easy reference throughout the convention.

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Southwestern Musician | February 2015

Scholarship awards are available!

Degree programs in instrumental and vocal music are available on the Brenham Campus. Auditions are available on the following dates (all Saturdays):

December 13, 2014 January 10, 2015 February 21, 2015 March 21, 2015

Auditions are also available by individual appointment: Jill Stewart (jstewart@blinn.edu) ...................................... Instrumental Dr. Joel Plaag (joel.plaag@blinn.edu)...............................................Vocal String Private Lessons, Choir, and Voice Lessons are available on the Bryan Campus. Auditions are scheduled by appointment only by contacting Todd Quinlan (Todd.Quinlan@blinn.edu) Any general questions may be directed to Todd Quinlan, Performing Arts Department Head 979-830-4288.

Our outstanding music faculty members are waiting for you!

Blinn College Music Faculty Dr. Marcelo Bussiki ....Division Academic Dean Todd Quinlan...............Performing Arts Department Head Jill Stewart ....................Instrumental Music Coordinator Brenham Campus Harry Blake..................Co-Director of Bands Dr. Sarah Burke ...........Co-Director of Bands/ Percussion John Dujka .....................Piano/Music Theory Dr. Craig Garrett ........Jazz Studies/Trumpet Brian Klekar.................Jazz Studies/Saxophone Karen Blake .................Color Guard/Woodwinds Larry Campbell ...........Tuba/Euphonium

Jeffrey Hill.....................Double Bass John McCroskey .........Trombone Marie McElroy .............Flute Dr. Eric Miller .................Double Reed Jill Stewart ....................Clarinet Felipe Vera ....................French Horn Steven Winter .............French Horn/Trumpet Dr. Joel Plaag ................Director of Vocal Studies/ Aural Music Daniel Bircher .............Assistant Director of Vocal Studies Lauren Shelton ............Voice Vicki Wehmeyer..........Voice and Piano Cheryl Amelang ..........Accompanist

Pat Daugherty .............Accompanist Leah Jorgensen............Accompanist Robert McElroy ..........Accompanist/Recruiting Linda Patterson...........Accompanist Bryan Campus Chris Hoffman ............Director of Vocal Studies Nannette Pope............Accompanist Dr. Sterling Allen .........General Music Nicole Cherry.............Violin Diedra Lawrence ........Viola Prudence McDaniel....Cello Dr. Alan Strong ............General Music

For more information call 979-830-4262 or 830-4288 or visit our website at:

www.blinn.edu/vpa

How we keep doing more B Y

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he cornerstone of the financial operation of our association is anchored in the annual clinic/convention. It is the most significant driver of our revenue stream year in and year out. So, without a registration or dues increase in 16 years, how has the Executive Board been able to raise the level of services and programs at the convention each year as well as give away most recently $1.25 million in grants to support members’ programs along the way?

The answer is simple. It is possible because of the ongoing contributions of our 500+ sustaining members, who represent virtually every component of the music education support industry. At first glance, one would think that support comes from the sale of space in our 1,185-booth exhibit hall. That certainly is true, but we quite often fail to look at the many other ways the music industry supports us through sponsorships, program and magazine advertising, product showcases, and non-convention related business. Take a look at these numbers from our 2013–2014 budget year: • Booth sales: $671,267

• Product showcase: $7,800

• Sponsorships: $39,750

• Program advertising: $112,247

• Instructional Materials Showcase: $14,400

• Magazine advertising: $253,185 • Database purchases: $21,335

So what offerings has TMEA increased or improved given the financial support of the music industry? Here are just a few: • Expanded convention printed program that now includes concert repertoire by All-State, Honor, and invited ensembles

EXECUTIVE DIRECTOR’S NOTES IMPORTANT DATES February 11–14—TMEA Clinic/Convention in San Antonio.

March 1—Texas Music Scholar application available online.

• Convention mobile app expanded with new features each year

March 4–5—Arts Education Days at the Capitol.

• Product showcases that give members more accessibility to new materials, services, and tools on the market

April/May—Attend your spring Region meeting.

• Session audio recordings at a savings to members significantly under the break-even cost

April 1–June 1—Submit clinic proposals for the 2016 TMEA Clinic/Convention.

• Expanded College Night and recent addition of a Graduate School Fair • More All-State ensembles with emphasis on small schools

TMEA salutes and thanks the 500+ members of the music industry that support music education in our state year round.

Southwestern Musician | February 2015 11

Visit us at TMEA in booths 2835 & 2936

Made in the USA

South Whitley, IN 46787 Phone: 260.723.4888 Website: FoxProducts.com E-mail: mail@FoxProducts.com

• Increased number of scholarship recipients and amounts, due to more revenue generated from licensed vendor royalties as well as the Board’s $500,000 endowment contribution • Handouts of clinics available online prior to each session • Texas Future Music Educator grants and travel reimbursement to attend convention • Extremely discounted tickets to the President’s Concerts that feature nationally and internationally known groups • Nationally renowned keynote speakers • Free parking and expanded shuttle service from the Alamodome • Innovative online membership and preregistration services • Efficient on-site registration kiosks These improvements have happened even though the cost of producing a convention continues to rise because of increased labor expenses and inflation.

Despite that, the number of clinic offerings has increased each year, giving more choices of workshops as well as concerts to attend.

So TMEA salutes and thanks the 500+ members of the music industry that support music education in our state year round. Companies must be profitable to stay in business, and TMEA works to provide savings to them as well with booth and advertising prices far below the industry standard. So it truly is a partnership from which we all benefit, and we are fortunate to have a relationship that hopefully will sustain itself for years to come.

It also is worthy of mention that university institutional members make a significant contribution to TMEA’s financial operations through advertising in both the convention program and SOUTHWESTERN MUSICIAN. Their steady advertising support throughout the year allows us to include more articles of interest to you in our publication.

And while not financially related, we all understand and appreciate the importance of quality music education training by our colleges and universities. We will only sustain music education in our Texas schools if competent, qualified teachers are guiding the instruction and building and supporting quality programs.

TMEA’s Tesa Harding Awarded International Association Honor

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he International Association of Exhibitions and Events recently awarded Tesa Harding, TMEA Exhibits and Advertising Manager, with their national IAEE Merit Award.

Since her start with TMEA in 1979, Tesa has worked in practically every capacity, being instrumental in the move of our association headquarters to Austin in 1979 and thereafter supporting the exponential growth of our membership and services. In her current position as TMEA Exhibits and Advertising Manager, Tesa’s chief role is to provide service and support to our valued industry partners who so generously back TMEA and music education through their exhibits and advertising.

As a member of IAEE, Tesa actively participates in professional development opportunities and networks with other exhibits professionals. Through IAEE, she earned her Certified in Exhibition Management (CEM) designation. In her IAEE Central Texas Chapter, Tesa has served in many capacities, twice serving as its President, in 2002 and 2013.

Through their Merit Award, IAEE

David Audrain, 2014 Awards Committee Chair, Tesa Harding, and IAEE President & CEO David DuBois honors members who have made outstanding contributions to their IAEE chapter by enhancing or creating new programs and serving in leadership roles within the organization. This international recognition reflects Tesa’s dedication and commitment to excellence in her work. She continuously seeks new methods and strategies to better serve our members and industry partners and has clearly done the same within her work as an IAEE leader.

Our thanks go to Tesa for her 35+ years of service to TMEA and our congratulations go to her for this prestigious designation by her exhibits management peers.

Southwestern Musician | February 2015 13

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Department of Music & Drama P.O. Box 425768, Denton, TX 76204 940-898-2500, music@twu.edu www.twu.edu/music

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Artists believe in Yamaha.

“I have been performing on the Yamaha Silent Bass for over 10 years and love everything about it...the sound, the touch, the feel and the compactness of the bass, which makes it convenient for travel. It produces the sound of a ‘high end’ acoustic bass but it is actually more even from top to bottom. I have always treasured my relationship with Yamaha. The company is totally dedicated to music education and to their artists.”

- Jim Widner Leader of the Jim Widner Big Band and Director of Jazz Studies at the University of Missouri-St. Louis

THE BUTLER SCHOOL OF MUSIC THE UNIVERSITY OF TEXAS AT AUSTIN

Bands at The University of Texas Season

Highlights

Professor Jerry Junkin and The University of Texas Wind Ensemble welcome Pulitzer Prize-winning composer John Corigliano to Austin for a concert of his music on Friday, February 20, in Bass Concert Hall. We invite you to this incredible evening of music culminating with Circus Maximus, Symphony No. 3 for Large Wind Ensemble to commemorate the 10th Anniversary of its premiere.

Brian Lewis, Professor of Violin at the Butler School of Music, joins Dr. Robert Carnochan and The University of Texas Wind Symphony to perform a wind orchestration of John Corigliano’s The Red Violin: Chaconne for Violin and Orchestra on Wednesday, February 25, in Bates Recital Hall. b

Spring 2015

Performances

Wind Ensemble | Friday, February 20 8:00PM Bass Concert Hall Symphony Bandb| Sunday, February 22 4:00PM Bates Recital Hall Wind Symphonyb| Wednesday, February 25 7:30PM Bates Recital Hall Symphony Bandb| Sunday, March 29 7:30PM Bates Recital Hall Wind Ensembleb| Tuesday, March 31 7:30PM Bates Recital Hall Wind Symphonyb| Monday, April 6 7:30PM Bates Recital Hall Wind Ensembleb| Wednesday, April 29 7:30PM Bates Recital Hall Symphony Band | Wednesday, May 6 7:30PM Bates Recital Hall Wind Symphonyb| Friday, May 8 7:30PM Bates Recital Hall

WINDS.MUSIC.UTEXAS.EDU Recent and Upcoming CD releases I Available on iTunes and Amazon

P L AC E S WEST in the

Music of Dan Welcher

The University of Texas Wind Ensemble Jerry F. Junkin, conductor

Starry Crown: Music of Grantham, Husa, Rouse, Sweelinck, and Maslanka The University of Texas Wind Ensemble Jerry Junkin, Conductor

Places in the West: Music of Dan Welcher The University of Texas Wind Ensemble Jerry Junkin, Conductor

Donald Grantham‘s Tuba Concerto Featuring Charles Villarrubia The University of Texas Wind Ensemble Robert Carnochan, Conductor

To the Top of the Stadium The University of Texas Longhorn Band Robert Carnochan, Director

TUBA CONCERTO Donald Grantham Featuring Charles Villarrubia, Tuba The University of Texas Wind Ensemble Robert Carnochan, Conductor

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he urgency present this time of year always seems to sneak up on me. I am not talking about our midwinter concert, the TMEA Clinic/Convention, or even that solo and ensemble entry deadline. The sense of urgency I feel is about the window of time in which our students must make enrollment decisions and course selections for the following school year. I never seem to adequately anticipate not only how early in the school year students are asked to evaluate their options, but also the quick turnaround time in which they must make their selections and official submission of course choices. It seems the process gets earlier and earlier every year and so does the urgency with which the materials are presented and gathered. A lot of factors drive this train, not the least of which is the entire school staffing process and allocation of teaching units on individual campuses. There are also budgeting issues and capital expenditures for costly specialty equipment like 3D printers and contra bassoons.

As band directors, it’s easy for us to view the operation as both a frustration and a distraction from our general rehearsal sequence, especially with contests looming on the not-too-distant horizon. Despite this, we all understand the reality of student recruiting and retention to the overall health and longevity of our programs. Many terrific clinics have been given over the years by a variety of prominent educators addressing elementary recruiting and secondary retention with the students in mind. There are clearly, however, other stakeholders in the process whose interests must be addressed as well.

This starts with the counseling staff on your home campus. At some point, probably in the last couple of months, these folks requested updated course information and descriptions for all of the band-related offerings on your campus. We often neglect the importance of this simple task. The counselors are charged not only with compiling and confirming all our information, but also with synthesizing core subject, curricular, and extracurricular offerings into a document for mass presentation in a one-size-fits-all format. The requested

BAND NOTES IN MEMORIAM WILLIAM R ICHARD (DICK) THOMAS OCTOBER 29, 1931–DECEMBER 19, 2014

IMPORTANT DATES February 11–14—TMEA Clinic/Convention in San Antonio.

March 1—Texas Music Scholar application available online.

March 1—Honor Band entry deadline for classes 2C, 3C, 3A, and 5A. March 4–5—Arts Education Days at the Capitol.

April/May—Attend your spring Region meeting.

April 1–June 1—Submit clinic proposals for the 2016 TMEA Clinic/Convention.

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information will appear in a printed, hard-copy format or online. It must be detailed and complete. You owe it to your counselors to provide them with timely, accurate, and concise information, including any prerequisites. Visit with your local counseling staff about how, when, and in what context this information will be presented. Make sure they have your story straight. Keep in mind that to a certain extent you will be turning over the wellbeing and future of your program, at least temporarily, to this document and its accompanying public presentation by the counseling staff.

If you are a middle school director, you have to balance the needs not only of the counseling staff at your campus but also the elementary music specialist at your feeder, the elementary counselor, and in many cases even the elementary principal.

All of these folks need to be in the loop about your campusâ&#x20AC;&#x2122;s timetable and about formal requests to visit the elementary campus for concerts or any form of aptitude or interest-related testing.

Communication up and down the leadership chain and strong personal attention is more important than any prepackaged

18 Southwestern Musician | February 2015

information or video. This can be a real challenge in districts without strong vertical structures. Many districts have very formal and sometimes strict guidelines for how and when secondary fine arts programs may introduce themselves to future members. Keep in mind that our goal as fine arts educators should be to involve all students in some form of fine arts activity rather than exclusively building our specific program at the expense of other campus fine arts offerings.

Keep your stakeholders on the elementary campus involved and informed. Take the time to communicate regularly with them. Nurture the relationships and seek avenues to assist them by supporting their instruction and performances. In addition, keep your fellow fine arts colleagues on an equal footing by promoting open communication and consistent recruiting practices.

If you are a high school director, you also have a responsibility to equip your vertical team middle school staff members with an enormous battery of information to distribute. This information must include details regarding how to enroll, auditions, marching band require-

ments, camps, instrument checkout, summer band, booster club and parent opportunities, and much more. The list seems endless and it covers far more territory than just the narrow timeframe of the course selection process. And we have to duplicate that information and more on our websites. I suspect we do a good job of organizing the information but perhaps not an equally good job of getting it in our middle school colleaguesâ&#x20AC;&#x2122; hands in a timely fashion and following through in person with campus visits. Again, this is much easier in strong vertically aligned situations and challenging in situations with shifting attendance zones or undefined vertical alignment.

Finally, the broad interests of the parents of our potential members must be addressed. Our materials must present a yearlong cross-section of the programâ&#x20AC;&#x2122;s expectations and answer questions ranging from financial and time commitments to private lessons and grading polices.

Create the most complete picture of the program possible and augment it with a Frequently Asked Questions section.

Remember that parents are increasingly being asked to make long-term curricular

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decisions for and with their children in three- and four-year increments. Parents of seventh and eighth graders are already aware of, and in some cases bombarded by, graduation plans, endorsements, STEM, and the like.

On the surface, balancing a strong fine arts commitment can seem impossible. Our written and digital recruiting communications must address these academic concerns. The TMEA office has put together some extremely helpful materials regarding the implementation of House Bill 5 and graduation endorsement options. Take the time to familiarize yourself with these on the TMEA website and use them as a resource for parent communications (www.tmea.org/hb5issues).

Remember to provide all pertinent information for parents on a variety of digital platforms just as you do for your students.

Often parents become overwhelmed with raw information and choices. A little extra communication in person or via an oldfashioned phone call can go a long way to easing their anxiety.

2015 TMEA Clinic/Convention Updates Remember that you can create a personalized convention schedule online at www.tmea.org/convention. This is also your first step to creating your CPE documentation and allows quick and easy searches for concerts and clinics. The personalized convention schedule will also allow access to clinic handouts if provided to TMEA by the clinicians. In addition, TMEA offers the convention mobile guide app for use during the convention.

Download it to your smartphone or tablet from www.tmea.org/convention.

Donâ&#x20AC;&#x2122;t forget to add the Band Division Business Meeting to your schedule on Thursday, February 12, 5:30â&#x20AC;&#x201C;6:30 in CC Ballroom B. Honor Band March 1, 2015, is the deadline for online entry in the TMEA Honor Band process for class 2C, 3C, 3A, and 5A. More information regarding dates, sites, judges, and chairs will be posted later at the TMEA website, www.tmea.org.

Southwestern Musician | February 2015 21

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What have you done to help your students reduce the tension that can affect their playing or singing?

Rick Brockway, League City IS Band, Clear Creek ISD: I like the think method. Ask students to think about relaxing the shoulders, arms, etc. Focus on what to do instead of what not to do.

Say “think about being relaxed.” Don’t say “play without tension.”

Michael Hardy, Bellaire HS Band, Houston ISD: I am a student of the Alexander Technique (AT), and through that I have studied body mapping and tai chi. I use these in teaching the proper use of the body in sitting, holding the horn, breathing, and playing. Understanding the way the body works allows students to play without tension. The AT starts with the concept that if there is tension in the neck, tension will be present elsewhere.

The first order of the AT is “Allow the neck to be free.” To do this, we must have a correct map of the neck. Feel free to contact me for more information, and visit www.bodymap.org or www.alexandertechnique.com for more information.

Paul Heuer, Mansfield Timberview HS Band, Mansfield ISD: Playing a passage on a wind pattern alone can relieve tension in a player’s sound, whether it be from breath or embouchure tension. We have the students only move air and articulate on a syllable in rhythm without their instrument to break any points of tension they may have with a particular passage. The second step is to allow them to hold their instrument and finger or position through the passage with the same feeling as without their instrument. Many times when they return to the horn, better habits are now present.

Jessica Reyes, Sinton HS Band, Sinton ISD: On brass instruments I have the students put their lips on the top and bottom portion of the mouthpieces so there is no buzzing and count how many seconds they can blow a steady fast stream of air. This helps spread teeth and control air speed. We do a few of these and then, with only the thumb and pointer finger holding the mouthpiece, apply a buzz to ensure they are still spreading the teeth, not applying too much lip pressure, and controlling their air. We time how long they can hold a buzz. Sometimes it’s okay to get away from the whole-note phrases and allow them to hold out fermata sustained sounds so it improves their tone, air speed, and air control, while supporting the sound they produce. When the students apply the mouthpiece to the instrument all the things preparing them beforehand are applied to the instrument.

Scott L. Taube, Lockhart JH Band, Lockhart ISD: It all relates to two fundamentals of sound: air and vibration. Both must be freely produced and consistent. Every aspect can be related to these principles. If air or vibration are restricted, something must change. The breathing gym exercises are wonderful for understanding body tension. Any heightened awareness will improve sound production.

Amanda Schubert, Orchestra Private Instructor: To produce the most efficient and beautiful sound on the violin, the bow arm must be relaxed. Specifically, with tense bow arms, a student’s right shoulder and upper arm are often lifted unnecessarily high.

In this case I have the student tonalize (long, slow full-length bow strokes) with a big tone, concentrating on relaxing the shoulder and upper arm. The next two areas that often have excess tension are the wrist and fingers of the bow hand. Again, I have the student tonalize as above, focusing on releasing tension in the wrist. For the fingers, students think of the middle finger and thumb acting like the fulcrum, and the other fingers curving, Southwestern Musician | February 2015 25

flexing, and helping the bow balance as it travels from frog to tip. Other bow stokes in different parts of the bow also should be practiced using these concepts of relaxation. Practicing this way helps reduce physical tension in performances. To maintain the physical relaxation in performance, mental tension must also be calmed. For this, have the student think of beautiful tone, a positive focal point for the mind (e.g., “fun” or “flowing”), and breathe slowly and deeply.

Paul Norris, Creek Valley MS Choir, Lewisville ISD: During choral warm-ups, have students put tension in their hands by pointing their fingers (as in jazz hands kept by their sides). By stretching their hands, it moves the tension there and away from their vocal chords.

Amanda Ransom, Henry MS Choir, Leander ISD: I use a lot of analogies when I teach. Most recently some of my sopranos were singing with a lot of tension. I talked about how you should pet a cat gently and that right now their cat would probably not like the way they were petting it. So now if they sing with tension I simply say, “Pet the cat,” and problem is solved—strange, but it works!

Nyadia Thorpe, Seale MS Choir, Midlothian ISD: We do a variety of physical warm-ups at the start of class. Some are games and others are yoga-like. Students eventually realize the value in warming up physically before warming up vocally. They are more relaxed, and their voices are able to flow more freely. While rehearsing, if there is an issue with tension, or breathing, we will stop immediately and go to a vocal warm-up (e.g., sirens, stretching with our arms above our heads and coming forward with some neck rolls). Deep sighs and yawning also help to refocus.

I think the added oxygen to the brain does us all some good to

26 Southwestern Musician | February 2015

relax and refocus. Suddenly, the tension leaves and we are able to sing with ease.

Marcus A. Johnson, Metcalf Elementary, Cypress-Fairbanks ISD: The best advice I can give is summed up in one word: relax.

Not only is it important to accurately perform a musical piece, but it is also important to relax, to connect emotionally with the piece, and to enjoy the moment. Help students understand that through their performance, they are helping their community be an even more beautiful place. There is no need to add unnecessary stress or tension. Relax, and enjoy the moment!

What have you found most effective in managing large classes?

Maria Chadwell, Balch Springs MS Band, Dallas ISD: Large classes need a well-organized setup. For beginner classes, I set straight rows with the second and third rows in the windows. I make sure I can walk between rows from each angle. It is critical to be able to get to each student. The students who need the most attention are seated in the front row so I can help them, and the proximity to me helps them stay focused.

Adam Powell, Cooper JH Band, Wylie ISD: Quick pacing is the key. You will need to hear individuals play to help them progress, but the less time you spend working with an individual student, the better focus will be from the rest of the class. I also believe you should give the group instructions on what to do while you listen to individuals play. Having them all finger along

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time to teach code words and nonverbal cues for preparing to play. This builds position awareness, listening skills, preparation, and advance planning. I play arpeggios on the piano to cue the students when we move from rest to play position. Students know it should take each person five seconds to prepare bow and instrument position before each piece. Students have a piano introduction or clicks from the iTunes accompaniment or metronome before the piece begins to establish proper tempo. Take the time to show students appropriate stand height, adjustment capabilities, and where to place the bow and instrument for rest and play positions. Be very specific so the risk of damage to instruments is minimal. It is also helpful to introduce students to self-tuning early in the year, as they find it fun and rewarding to prepare their own equipment. The goal is to foster student accountability and independence from the very first stages.

Courtney Kelly, Canyon Ridge MS Choir, Leander ISD: The choir program at CRMS has four sections of sixth grade, with 60 students in each class. Structure and pacing are what lead to success with these large groups. We spend the first few weeks of school making sure that students know exactly what is expected when they walk into choir class each day. Once their routine is set, it’s all about pacing and time management. Downtime or too much time on a single activity is what leads to a loss of focus or off-task behavior. Our students work bell to bell. As soon as they enter class, there is a starter for them to work on or a rhythm to study as they wait for the tardy bell to ring. We transition quickly into each segment of class. Proper time management in the choir room helps keep students interested and engaged.

while other individuals perform gives everyone something to work on while they wait. Sometimes, I like to be less predictable on who will play next. Rather than always going down a row, I alternate between rows or choose seemingly at random. That one thing will keep them on their toes because they never know when they might have to perform. Keep the pacing quick and keep them working on fingering, toe tapping, and having fun playing their instruments. They are there to learn to play the instrument, not sit around and listen to others play all class long!

Anthony Wilson, Anton HS/MS Band, Anton ISD: We work on good rehearsal etiquette and understanding the educational purpose of a school. I often call on students to evaluate what other students said or played to keep them alert to what is going on. I do not allow them to repeat my instructions to students who weren’t paying attention. I appreciate their helpfulness, but don’t want them to teach others that they don’t need to listen.

Sometimes I have the whole group sing along with other parts during their rests to keep them occupied. I often make rhythm sheets for each song. I have the whole group count the selected rhythm, and then I can refer the target section to that rhythm in their song. This limits the amount of time where the rest of the group is disengaged. I limit my comments to 2–3 specific things per cutoff. I try to be really animated on the podium and graphic with my commentary to break the monotony and regain their attention (thanks, Peter Boonshaft!).

Jennifer McHenry, Hedrick MS Orchestra, Lewisville ISD: A large beginning ensemble requires that we keep everyone very busy while maintaining a fast pace with instruction. Take the

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David Means, UT/Rio Grande Valley Choir: Offering a variety of activities during rehearsals helps keep students focused in large classes. Have your students stand in alphabetical order while warming up (this will help with checking roll). Have them change positions for sightreading (I often have them stand in a circle). I believe this helps develop independence, as they aren’t able to hide behind anyone on the back row. When we rehearse choral pieces, I have several other positions for the choir. This planned movement throughout the rehearsal promotes a fast pace and helps students maintain focus. I also have students regularly sing alone or in duets or quartets. In addition, I generally have weekly sing-offs where each student sings prescribed passages or pages for their section leader. I expect that they are always ready to sing alone or in small groups. That typically means they will work harder between rehearsals to be totally prepared. Finally, I move a lot. I’m behind the piano, in front of the choir, walking around, getting up in the risers, and more. I really don’t give them an opportunity to become unfocused!

Paul Norris, Creek Valley MS Choir, Lewisville ISD: I have found three things that work. First, have students sit down and stand up. If I put in a little time to relax, I have found they have more focus when we work. Second, make announcements halfway through the class. This gives them a little break. Finally, have them run (or something physically energizing). A few times when the students’ sound was not where it should have been due to their lack of focus and energy, I had them run to a certain part of the school and back. When they returned, they were energized and ready to go. It got the blood flowing!

Brian Halverson, Adams Hill Elementary, Northside (San Antonio) ISD: At the elementary level, a set beginning routine is essential. At each school where I have taught, I convinced the principal to purchase a carpet with five rows of colored rectangles. This helps define each student’s space and helps in discipline control. Also, I meet the students at the door and lead them to their places with varied world music with varying tempos and time signatures and continue with movements, matching the musical phrases. Once seated in their rectangles, encourage—or insist upon—proper posture with “Students ready for learning, sit up nice and tall!” A vocal warm-up of three or four short, well known songs helps students concentrate on their vocal quality.

For upper grades I use patriotic songs as my base. As students move to other activities, set routines for movement to help maintain the students’ focus. Move by rows, boys first, girls first, last name, by certain letters of the alphabet, and so on. Routines create order, and students appreciate order once it is established and maintained.

Cary Vanarsdall, Petrolia Elementary, Petrolia ISD: You have to be the boss while remembering the age of the students. It is unrealistic to expect that students who aren’t even teens could sit in a band class the same way seniors in high school can. Let students know what you will and will not allow, and watch for when the students need a break. We have SMART Boards in our classes, so when breaks are needed, I project a YouTube dance video for them to join. This releases some of the jitters and gives them a chance to have a break from moving from piece to piece.

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Looking ahead B Y

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N E E D H A M

T

urn out the lights, the party’s over. This article represents my sign-off as Orchestra Division VicePresident, and my term will end as abruptly as it began. For a TMEA Division Vice-President, there is no grace period. You attend your first business meeting a couple of days after being elected to the position and before you even have a job description or a notebook, you find out your first article is due. For two years, this gig becomes a full-time hobby and you work until the moment the final goodbye hugs are offered and you are ceremoniously kicked out of the same Board meeting where it all started. At that point, the next Vice-President is on the clock and the wheel keeps turning.

Serving on this Board has been all I thought it would be—a challenging, rewarding, and humbling experience. The TMEA staff is as talented as you think they are, and the bonds you develop with your fellow board members are special. Even if we had the space available, it would be impossible to list the number of people who have helped me along this journey. I have met some incredible people, learned much about the legislative process, had my eyes opened to the challenges and successes in each division, dealt with some very difficult situations, and achieved beyond what I would have thought possible.

Being around talented people has a way of inspiring you to up your game. I have had the opportunity to help a multitude of directors, students, and parents along the way. The rewards of serving in this position far outweigh its challenges.

With that in mind, I will end this article the way I began my first one two years ago: with a call to action and service. There are many reasons why people do not volunteer for leadership positions. For some, it is not important to them and they are happy to let others do the work. For others, fear of stepping into a leadership role or fear of failure hampers any desire they may have to help.

ORCHESTRA NOTES IMPORTANT DATES February 11–14—TMEA Clinic/Convention in San Antonio.

March 1—Texas Music Scholar application available online.

March 4–5—Arts Education Days at the Capitol.

April/May—Attend your spring Region meeting.

April 1–June 1—Submit clinic proposals for the 2016 TMEA Clinic/Convention.

May 1—HS Full, JH/MS Full, and JH/MS String Honor Orchestra Part A online submission deadline.

As we grow the Orchestra Division, it’s more important than ever that each director take on some sort of volunteer or leadership position each year.

Southwestern Musician | February 2015 33

UNT College of Music Summer Workshops 2015 13th Annual Pirastro Strings Elite Soloists Program May 22–29 Jeff Bradetich Flute! Fundamentals for Teachers June 8–12 Mary Karen Clardy 28th Annual Bradetich Double Bass Masterclass June 8–12 Jeff Bradetich, Jack Unzicker 15th Annual Lynn Seaton Jazz Double Bass Workshop June 8–12 Lynn Seaton North Texas Conductors Collegium June 8–19 Eugene Migliaro Corporon, Dennis Fisher 15th Annual Beginners and Intermediate Bass Camp June 10–12 Jeff Bradetich, Gudrun Raschen, Jessica Gilliam Valls, Carlos Gaviria Flute! Middle School Day Camp June 12–13 Mary Karen Clardy Marching Percussion Camp Paul Rennick, Michael Hernandez June 15–18 String Orchestra Day Camp June 15–19 Rebecca Roesler (Grades 2–10)

Flute! Practicum for Performers June 15–19 Mary Karen Clardy Keyboard Percussion Symposium (Formally UNT Marimba Workshop) June 16–20 Christopher Deane, Brian Zator, She–e Wu, Sandi Rennick, Gordon Stout, Ed Smith

ClarEssentials Middle School Clarinet Workshops June TBA Guyer High School, Denton, TX Cobb Middle School, Frisco, TX Kimberly Luevano, Kristen Thompson, Connor O’Meara

Flute! Masterclass in Repertoire and Performance June 19–21 Mary Karen Clardy

Drum Major and Student Leadership Camp June 25–28 Nicholas Williams, Jeremy Spicer, Manuel Maldonado, Duane Hill (Texas Tech), College Drum Majors from Texas Universities

Vocal Pedagogy Workshop June 19–20 Stephen F. Austin

Flute! High School Camp June 26–28 Mary Karen Clardy

Summer String Institute Session 1: June 19–26 Session 2: June 26–July 3 Violin: Bui Cong Duy, Julia Bushkova, Philip Lewis, Felix Olschofka, Gary Levinson, Alex Kerr Viola: Ralph Fielding, Daphne Gerling, Liesl–Ann de Villiers, Susan Dubois Cello: Eugene Osadchy, Nikola Ruzevic, Elizabeth Morrow Orchestra: Clay Couturiaux

Texas High School All–State Choir Camp July 8–11 Alan McClung, director, Amanda Quist, guest conductor

Vocal Jazz Summer Workshop June 21–26 Jennifer Barnes, Rosana Eckert, Greg Jasperse ClarEssentials High School Clarinet Workshop June 24–27 Daryl Coad, Deb Fabian, Kimberly Luevano, John Scott

Jazz Combo Workshop July 12–17 Mike Steinel Middle School/Juneior High Honor Choir Camp July 15–18 Alan McClung, director, Rebecca Reames, guest clinician Mariachi Summer Camp July 21–25 Donna Emmanuel Alexander Technique August 1–2 Phyllis Richmond

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If you are afraid of volunteering because of a fear of making mistakes, you should relieve yourself of this pressure, as no leader has a perfect record. Sadly, many who sit on the sidelines not helping end up being the most critical of others’ mistakes. Serving in a leadership position will also make you more empathetic when things do not go perfectly for others because you will understand the pressure and responsibility of the leadership role.

TMEA and music education in Texas need you! I am amazed at the small number of individuals who do so much of the work. As we grow the Orchestra Division, it’s more important than ever that each director take on some sort of volunteer or leadership position each year. Even if the position is as simple as teaching a Region sectional or staying behind to stack chairs after a Region concert is complete, each director should actively seek opportunities to lend a helping hand. If you do these things but have never stepped into a greater roll such as hosting an event or serving as a Region Chair, consider how important these opportunities are to your own students.

Take some time to look ahead and plan how you can serve beyond your own classroom. You will not regret stepping out of your comfort zone, and the return on investment will be substantial. Serving as TMEA Vice-President has been one of the most rewarding activities of my career.

I appreciate the support I have received and hope that you too will consider serving!

2015 Clinic/Convention Update With our convention just days away, I’m sure you’ve made your travel arrangements and hopefully you preregistered before that deadline. Of course, you can still register on-site in San Antonio. For information on that and more, see page 8 and visit www.tmea.org/convention for the latest convention updates. Be sure to thoroughly review your convention program when you arrive and know that, like last year, in addition to the thorough schedule details and more, it contains a concert repertoire listing for each AllState, Honor, and invited group—what a great resource!

Remember to make time in your schedule to attend the performances of our Honor Orchestras and our invited university orchestra, clinics by our featured

clinicians, and All-State rehearsals, as well as the many technology sessions that are part of the TI:ME Music Technology National Conference. Be sure to attend the Orchestra Division Business Meeting

on Thursday, February 12, at 5:30 P.M. in room CC 206. Along with other business, you will be electing the next Division Vice-President. Take time to be a vital part of our future!

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TCU Director of Chorale Studies, Dennis Shrock conducts the TCU Concert Chorale in Fort Worth’s St. Stephen Presbyterian Church

All-State Choir Camp Dr. Sheri Neill, camp director • Dr. Kenneth Davis, conductor

Sessions Purple Camp, July 12 - 15 • White Camp, July 15 - 18 Section Leaders Amy Allibon, Birdville High School Michael Dean, Trinity High School Billy Talley, Tascosa High School Cheryl Wilson, Garland High School Brad White, TCU

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For registration information, please visit our website at www.choircamp.tcu.edu

www.music.tcu.edu

Campanas de América Presenting a special performance during the TMEA Clinic/Convention

C

haracterizing the music of Campanas de América as simply mariachi does not describe the entire musical spectrum produced by this ensemble of talented musicians. The two-time Grammy Award winner, Juan B. Ortiz and his group Campanas de América (Bells of America) is an innovative twelve-piece musical group founded in 1978 by Juan and Belle Ortiz. Expanding in style from traditional mariachi sounds, the band also incorporates more diverse instruments to include the accordion, keyboards, and a full drum kit. This energetic musical group often incorporates impromptu dancing coupled with gritos (Mexican yells of enthusiasm), thus transforming a Campanas performance into a fiesta!

The group’s list of numerous performances includes the Aladdin Casino in Las Vegas, the Willie Nelson Farm Aid Concert in Iowa, and the Kumamoto Festival in Japan. The troupe has performed at many presidential events in Washington D.C. The group has also performed with the San Antonio Symphony and the Houston Symphony. They have performed on numerous occasions at the Hispanic Heritage Awards at the John F. Kennedy Center for the Performing Arts.

In 2004 Campanas performed for the Hispanic Heritage Awards NBC television show directed by Emilio Estefan at the John F. Kennedy Center for the Performing Arts. They are the first and only mariachi group to display an instrument at the

One Night Only!

Friday, 6:30 p.m.

Ballroom A internationally acclaimed Hard Rock Café. On several occasions, Campanas has performed the National Anthem for the San Antonio Spurs during home games of the NBA playoffs.

Campanas continues to offer numerous mariachi workshops and concerts in schools as well as participating in “Grammy in the Schools,” a program through the National Academy of Recording Arts & Sciences. Through their tireless efforts and dedication, the troupe has gained national recognition and public support, attributing much of its success to the philosophy that education is key. Campanas has been and continues to be one of the main forces behind mariachi education programs in public schools.

This ever-evolving mariachi group continues to wow audiences around the world, once again proving that music is a universal language without boundaries.

Southwestern Musician | February 2015 37

UNIVERSITY OF SOUTH ALABAMA

DEPARTMENT OF MUSIC Audition Dates: Saturday, November 8, 2014 Saturday, February 14, 2015 Saturday, March 14, 2015 Saturday, April 4, 2015 Additional Dates Available by Request

DEGREES: BM with Concentration in Music Education MM with Concentration in Music (Instrumental and Vocal) Education (Instrumental and Vocal) BM with Concentration in Performance (Instrumental and Vocal) MM with Concentration in Music Performance (Piano and Vocal) BM with Concentration in Elective Studies (Business or Specific Outside Fields) MM with Concentration in Collaborative Keyboard

The University of South Alabama Department of Music, through its innovative curriculum, empowers professional musicians, music educators, and those who wish to enrich their lives through the arts. The Department serves the needs of the University to promote general education and to provide a vital cultural link to the great state of Alabama and to the Gulf Coast region. Its excellent facilities and faculty, promotion of technology, and dedication to life-long learning provide a wide spectrum of experiences for both the student and the community.

ENSEMBLES INSTRUMENTAL ENSEMBLES Wind Ensemble Symphony Band Symphony Orchestra String Ensemble Jaguar Marching Band Jaguar Pep Band Jazz Ensemble

VOCAL ENSEMBLES University Chorale USA Opera Theatre USA Concert Choir

CHAMBER ENSEMBLES Flute Choir Trumpet Ensemble Trombone Ensemble Tuba Euphonium Ensemble Chamber Brass Ensembles Chamber Woodwind Ensembles

Percussion Ensemble USA Steel Band USA World Music Ensemble Piano Ensemble Guitar Ensemble

Contact Information University of South Alabama, Department of Music Laidlaw Performing Arts Center, Room 1072, 5751 USA Drive South, Mobile, AL 36688

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music.cmu.edu Southwestern Musician | February 2015 39

Is Choir on the Sidelines in Small Town, Texas?

by Allison Johnston

S

mall schools simply don’t have enough students to participate in band and choir, and there just isn’t enough funding to support both programs adequately. Does that sound about right to you? While many might find that statement true, others across the state have proven it to be a baseless assumption. After 11 years at Friona High School, I am pleased to consider myself part of that second group, and I hope to offer some insight here into how this small 2A program has repeatedly shown that a school of any size can successfully support multiple music organizations.

My family moved to Friona in 1999 when the school had no choir program. As our children had been members of their former school choirs, I was of course disappointed. Believing in the need for students to learn to sing, I began a community choir in Friona. My children continued their choral studies through this community choir, and my son even qualified three times to an All-State choir. With this choir’s success, others in the community became convinced of the need for a choir program in school and approached the school board with that request. We were initially met with resistance because of the expectation that a choir program would hurt the existing band program. The community continued to rally behind this idea, and ultimately the school board approved its creation in the fall of 2003.

START SLOWLY In that first year of existence, the high school choir consisted of 26 students. We met in the high school auditorium and shared space with the theater department. Over the subsequent 11 years the program has grown to 124 students and four choirs that 40 Southwestern Musician | February 2015

competed at UIL contest.

When we started the program, it was important for students to take it seriously and believe in the program. I sought advice from other directors, and one of the suggestions we followed was not entering UIL Concert & Sightreading contest until we had an established program and students had developed their skill set. I would now offer that same advice to new choir programs.

We started by emphasizing sight-singing skills. This was initially met with tremendous resistance. Students didn’t want any part of solfège, hand signs, or learning how to read the music. They just wanted me to play them their part and learn it by ear.

It is so important to take things slowly when you start a new program. Begin at the beginning—the staff, notes, basic rhythms.

We use small dry-erase boards to practice beginning skills of music reading. We build scales and chords on the staff, then we sign them, then we audiate them, and then we sing them. We do this with every key we encounter. I refer to a complete set of hand sign posters and use the piano keyboard to teach altered tones.

In the last few years I have incorporated audiation into our learning process, and it has been incredibly helpful! I initially had no idea how to teach this concept, so again I sought the help of other choir directors, and with their mentoring, we have achieved greater success through this method.

A free resource we have found particularly helpful has been the use of discarded hymnals from local churches. I use hymns to introduce basic part singing. They offer a wonderful means for teaching the basic I–IV–V–I chord progression.

In the initial years of the program, I was often discouraged.

It took several years, patience, and perseverance to get students

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Shaaron Conoly Director of Vocal Studies sconoly@tlu.edu Eric Daub Director of Piano Studies edaub@tlu.edu Eliza Thomason Director of Strings ethomason@tlu.edu

to realize what becoming a true musician really means. Now, when students enter the program, they understand there is method involved, and they realize that if they follow it, they can achieve success.

The program has grown because the students have bought into what we do.

WHERE DO YOU BEGIN? Starting a choir can be a daunting endeavor. There are so many things to consider: budget, class space, instructional materials, uniforms, and risers, to name just a few. We were so very blessed with a supportive administration, school board, and community. Because of the community support, everyone saw the need for the program and did all they could to support it. Regardless of the level of support, it is important to be realistic that this endeavor will always include some challenges and that a quality program will take time to fully develop.

Determining your program’s financial needs and requesting an adequate budget for your developing program is one important component in this process.

Never be afraid to ask for what you need, and don’t fear being told no. At the same time, you must be an efficient steward of your budget when you plan for concerts and contests. As one example, you should carefully select music that you will be able to reuse with future choirs.

With the increased enrollment in the program, our budget has grown. Below is what I requested for the 2005–2006 school year (the third year of our program’s existence): General Supplies: $5,000 Dues/Fees: $2,550 Travel: $3,100 Contracted Services: $700 Total: $11,350 During that 2005–2006 school year (the second year we had a dedicated classroom), there were 50 students in choir. We ordered our first set of risers the previous school year and in 2005–2006 ordered additional risers and an acoustic shell.

That ended up costing approximately $7,000, and it wasn’t part of my operating budget.

To begin, we ordered Hal Leonard’s Essential Musicianship: A Comprehensive Choral Method, Book 1 and Essential Repertoire for the Young Choir, and we ordered supplemental materials for sightreading, including AMC Publication’s

90 Days to Sight Reading Success and Carl Fischer’s InSight Singing.

In 2013–2014, our overall budget more than doubled what it was in 2005. The supply budget was $15,261. Dues and fees were $3,750, and travel was $6,000.

When you start a program, it is imperative to be realistic with administrators about your needs. You will need a classroom, risers, uniforms (at least by the time you enter UIL Concert & Sightreading contest), music, and teaching materials. As evidenced by our growing budget above, it can be expensive to build a program.

We no longer have a contracted service line item but have added one for advanced competition expenses—reflecting the musical growth of our program.

This item covers anything beyond the Region level in TMEA and is used for UIL State Solo & Ensemble contest. Our budget is very generous, and is a reflection of the incredible support we receive from our community and school board. I also believe it reflects the sustained musical growth of the program. If you develop consistency in your program and showcase it to the community, you’re more

Southwestern Musician | February 2015 43

likely to gain this level of support.

BUILDING A PROGRAM While the choir did not participate in UIL Concert & Sightreading contest in its first year, individuals did compete in solo

and ensemble contests. We took 16 solos to the Region contest and advanced 10 to the state contest during our first year— you would have thought we won Olympic gold! It was an incredible step for our program! After that first year, students have

23-27 2 0 1 5

“I want y’all to know that I had a blast as a senior and will miss this awesome experience!”

participated in the TMEA All-State process each year. The choir began competing in UIL Concert & Sightreading contest in its second year of existence.

The first year we entered UIL Concert & Sightreading contest, our choir had no uniforms. Members wore white dress shirts or blouses and black slacks or skirts.

Without uniforms, this certainly sounded like a good plan. In practice, however, we discovered there are many versions of white and black, and we looked anything but uniform. Fortunately, our superintendent, principal, and athletic director went with us to that first contest. They saw how we looked compared to the other choirs, and the very next fall we had uniforms.

Of course, this is yet another item for your budget, but as we learned, it is an important part of establishing your choir’s reputation and will help each member develop greater pride in their participation.

ESTABLISHING TRADITIONS It is also important to establish traditions early so that your students feel ownership in the program. It takes time to build those traditions, but they are essential. In Friona we have a “family song.”

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think. perform. explore.

44 Southwestern Musician | February 2015

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

WAYLAND BAPTIST UNIVERSITY

SCHOOL OF MUSIC

AUDITION DATES: NOVEMBER 7-8 FEBRUARY 20 MARCH 27-28 B. M. IN MUSIC EDUCATION B. M. IN PERFORMANCE B. A. IN MUSIC GENERAL MUSIC THEORY AND COMPOSITION CHURCH MUSIC AND WORSHIP

Wayland School of Music Faculty Ensembles Debra Buford: Wayland Singers, Choral Performance Lab Hyung Chae: International Choir, Praise Ensemble Lab Timothy S. Kelley: Symphonic Wind Ensemble Anthony King: Marching Pioneers, Pep Band Brian Kuhnert: Opera, Musical Theatre Joseph Vandiver: Jazz Ensemble Boyce Wyrick: Chamber Orchestra

Vocal Studies Kimberly Brown Brian Kuhnert Amy Pineau Virtual Campus Douglas Brown Jennifer Brown Tammie Burger Music Education Debra Buford Timothy S. Kelley

Church Music Hyung Chae Piano Gary Belshaw Richard Fountain Jennie Hsu Composition/Theory/History Gary Belshaw Sandra Mosteller Scott Strovas Ann Stutes

Instrumental Faculty Pat Brown: guitar Kimberly Hudson: Àute Michael Johnson: bassoon Timothy S. Kelley: low brass Anthony King: percussion Sandra Mosteller: clarinet, sax Michael Newton: cello Oryana Racines Smakovik: high strings Joseph Vandiver: high brass Boyce Wyrick: bass

FOR AUDITON INFORMATION: 1-806-291-1074 OR BERRYJ@WBU.EDU OR WWW.WBU.EDU/MUSIC

The School of Music at Wayland Baptist University is an accredited institutional member of the National Association of Schools of Music.

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

Performance Opportunities A Cappella Chorus Big Purple Marching Band Chamber Singers Concert Band Jazz Combos Jazz Ensemble Opera Percussion Ensemble Steel Drum Band Symphony Orchestra University Chorale Wind Ensemble

Audition Dates Saturday, February 7 Saturday, February 28 Saturday, March 28 Friday, April 17 (video audition deadline)

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Each year, we learn “Many Gifts, One Spirit” by Allen Pote. We sing it on our first performance and on our last performance of every year. We also have a “Wall of Fame” and a “Wall of Wisdom.”

The “Wall of Fame” is for students to sign when they have achieved individual success (e.g., district, Region, or Area choir, solo and ensemble). After our final concert of the year, the seniors are encouraged to leave a quote on the “Wall of Wisdom” for others to remember them.

We perform in the community every chance we get. Students know the choir is important to our community, and that has made them proud to be part of it.

We take spring trips every two years.

We plan a trip that includes a festival so that the students get another opportunity to perform. With few programs like ours across the state, it often seems that small schools are at a disadvantage at UIL Concert & Sightreading contest.

Many judges live in metropolitan areas that do not have small, rural schools, and we certainly can’t produce the sound of a large powerhouse choir. We will continue to work toward that goal, but thus far we have fallen short. Given that reality, festivals have provided our students greater opportunities for success. Festivals have highly acclaimed adjudicators who give written as well as oral critiques of your performances. Our students have come away from these festivals knowing they accomplished something wonderful and knowing more about where they can improve.

SHARING YOUR PASSION It takes time for students to believe in your program and for it to grow. You must have a passion for what you do. You must have immense and unwavering positive energy. You must be willing to work with band directors. Our band directors support the choir 100%, and we tell our students that being a member of both programs is the best place to be. We currently have 100 students in the band program, and 124 students in the choir program.

Of those, 46 are in both programs. It can be done.

You must be flexible and willing to work with other programs in your school.

In a small school the same students are in everything, and each of us wants the best for our program. To have them, though, we must learn to share and consider the

What is one of the greatest challenges for a smallschool choir program, and how have you met that challenge?

Jimmy Kritikos, Canyon Lake HS (4A), Comal ISD: The biggest problem I faced at a small school is having enough students to create a viable program. For me, I found these three steps were critical in meeting that challenge: 1. Establish enthusiastic, passionate singing, no matter the size of the choir. I’ve taken a choir of six students to contest before, but they sang with heart and passion, so why would I prevent them from the contest experience? Quality breeds quantity.

2. Create relationships—with every teacher. At small schools, you’re competing for students with everyone! Learn to work together with every group, and be willing to share your students too!

3. Be seen on campus (you and your choir). The more other students see your passion, the more they’ll want to be a part of your program! If you’re seen supporting your school, they’ll know you’ll support them too.

Demetrius Ethley, Carter HS (4A), Dallas ISD: I believe the biggest challenge facing small schools is finding partnerships with those who can provide the additional support needed to help students prepare for and be successful in the competitive process. And with this challenge comes the task of making sure your students are exposed to good private vocal instruction. I met this challenge by first forming a booster club. At the same time, I began developing the best ensemble I could with the few students I had and then began to have them sing in front of anyone who would let them come sing. I entered students in every event, and the booster club raised funds to get them vocal coaching and master classes. I also reached out to local colleges and universities and musician friends (retired and currently working) to help with vocal coaching.

Yvonne Jaggard, Rockport-Fulton HS (4A), Aransas County ISD: Recruiting and keeping students in choir throughout high school is one of the biggest challenges we face. I believe the key to recruiting is starting with sixth graders. We are fortunate that our choir staff team (both middle school and high school) teaches all choir classes. We are able to break them up into smaller groups and do a lot more small group and individual instruction from the very beginning.

Each director has their strengths, and that helps develop a well-rounded student. Also, we are able to align the curriculum so when they arrive at the high school, they do not have to start from the beginning. Students in high school who have not been in choir before can work with another director to catch up to the class so they do not feel overwhelmed.

students when we schedule our events.

You must cultivate relationships with the choir directors in our Regions. The choir directors in Region 1 have been an incredible resource for our program. Even if you get discouraged, don’t stay discouraged. When things get tough, call a colleague for advice, counsel, and, if needed, a friendly shoulder to cry on. Then dust yourself off and start another day.

Teaching choir in a small, rural community can be one of the most rewarding experiences of your career. If you know of

a small school without a choir, consider encouraging this valuable addition to its music program. Rather than reducing the effectiveness of any existing programs, the math of this addition really does work.

The sum will be greater than its parts.

Allison Johnston is the choir director at Friona High School, located southwest of Amarillo.

Southwestern Musician | February 2015 47

Graduate Studies in Music Education Summer 2015 Maymester: May 13 - May 28 The Arts in China: Travel to Chengdu University MUED 5344.001 Dr. Janice Killian 8 AM – 5 PM (L)

June 2 - August 5 Applications of Technology in Music I MUSI 5342.D Dr. Keith Dye Distance Only (asynchronous) (O)

June 8 - 19 Learning and Music MUED 5332.001 Dr. Keith Dye 8 AM – Noon (L/V) From Classroom to Choir: Repertoire & Techniques for Young Choirs MUED 5344.002 Dr. Susan Brumfield 8 AM – Noon (L)

June 22 - July 3 Harmony & Voice Leading with AP Primer MUTH 5300 Dr. Peter Fischer 8 AM – Noon (L) Globalization & Music Education: Incorporating World Music MUED 5344.003 Dr. Jacqueline Henninger 8 AM – noon (L) Topics in Band Music Education: Repertoire and Trends MUED 5325.001 Dr. Eric Allen 1 PM – 5 PM (L/V) Tests & Measurements MUED 5333.001 Dr. Janice Killian 1 PM – 5 PM (L/V)

July 7 - 12

Current Issues in Music Education MUSI 5307.001 Dr. Janice Killian 1 PM – 5 PM (L/V)

Topics in Band Music Education: Fundamentals at All Levels MUED 5327.001 Dr. Keith Dye 8 AM – 8 PM (L/V)

Band Conducting Methods III: Band Strategies & Techniques MUAP 5310.001 Dr. Eric Allen 1 PM – 5 PM (L)

International Music Education MUED 5344.004 Dr. Janice Killian 8 AM – 5 PM (L/V)

July 7 - August 7 Symphonic Literature MUHL 5311.D Dr. Thomas Cimarusti Distance Only (asynchronous) (O) Masterpieces of Western Music MUHL 5320.D Dr. Thomas Cimarusti Distance Only (asynchronous) (O) Graduate History Review MUHL 5300.D Dr. Stacey Jocoy Distance Only (asynchronous) (O)

July 13 - 17, 27 - 31 Foundations in Music Education MUED 5340.001 Dr. Keith Dye 8 AM – Noon (L/V) Styles in Wind Literature MUTH 5320.001 Dr. Peter Martens 1 PM – 5 PM (L/V)

July 13 - 21 Choral Conducting Methods: Conducting as a Rehearsal Technique MUAP 5308.001 Dr. Carolyn Cruse 1 PM – 5 PM (L)

L = Live V = Videoconference O = Online

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For more information, visit www.music.ttu.edu, or contact: Dr. Michael Stoune, Director, Graduate Studies

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Dr. Janice Killian, Chair, Music Education

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Emily Gifford, School of Music Graduate Admissions

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50 Southwestern Musician | February 2015

What can you do for TMEA? B Y

D I N A H

M E N G E R

M

y experience with TMEA has been multifaceted.

When I was challenged by a parent over a religious issue and relied on the legal team made available through the liability insurance TMEA offers, I knew that TMEA’s presence in my life as an educator was an absolute! When my choirs were chosen to sing at the convention and I called the office with the silliest of questions (about a million times), I was always greeted with a warm and patient answer or idea. As a Region Chair, my after-hour calls to Frank Coachman were never begrudged. Many times he was out working in the middle of a field on his property (trying to have a few minutes of time to himself), but he would put down his shovel and walk this technically-challenged, mildly panicked director through issues that always happened during the most crucial time at an audition.

Every TMEA convention I attended left me with a sense of homecoming.

I was surrounded by insane people just like me who spoke my language and had the same crazy calendar, lifestyle, and priorities. I bring all of these to your attention with this thought: where would each of us be without this strong organization? I shudder to think. If you look at all the former Vice-Presidents, Presidents-Elect, Presidents, and Past-Presidents, that’s a lot of experience and trail-blazing! All of them began as you and I did, simply wanting the best for our choristers and for our programs and seeking out like-minded colleagues (we don’t usually have this at our separate schools).

Where do you see yourself in the many facets of the TMEA organization?

VOCAL NOTES IMPORTANT DATES February 11–14—TMEA Clinic/Convention in San Antonio.

March 1—Texas Music Scholar application available online.

March 4–5—Arts Education Days at the Capitol.

April/May—Attend your spring Region meeting.

April 1–June 1—Submit clinic proposals for the 2016 TMEA Clinic/Convention.

May 1—Postmark deadline for the 2016 TMEA Clinic/Convention performing choir application.

Lend a hand, volunteer, and give back to this great organization that does so much for us.

Southwestern Musician | February 2015 51

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Volunteering for the many jobs at convention is an excellent way to start. Being a crazy member of the Facilities team is a blast! I have made many friends while serving on this team. Being a presider and meeting clinicians, making them feel welcome, and helping them prepare to present a session is such a wonderful service.

To represent TMEA in this capacity is what keeps great clinicians coming back to Texas.

As a choir guide, nurturing and serving the choristers and nervous directors as they rehearse in Ballroom A for a life-changing concert is so gratifying.

Your face becomes a source of calm for them. You won’t soon be forgotten. As the first person to say hello at the convention, volunteering to help get everyone registered is such a great gift you can give.

Answering questions, giving directions, and making all feel welcome is what you do every day, so you might as well spread the love at the convention!

Lend a hand, volunteer, and give back to this great organization that does so much for us. Being on the other side and seeing how it all comes together to host over 26,000 attendees is truly amazing.

As you prepare for this year’s convention, make sure you map out time just for you.

Part of the beauty of the February time period is that you can take a breath, be artistically and intellectually fed, and treat yourself to a deliciously decadent experience of listening to great music (and

not being in charge of it). You can stroll through the exhibits finding new music and old friends, steal like an artist as you discover new ideas to make your teaching more effective, and get a cup of coffee and simply spend some time people-watching (one of my favorite things to do)! The convention is there for you to decide what it will be. Look for ways to volunteer in the future. Call the TMEA office or go to the website and see how you can help. You won’t regret it.

February Farewells As I write my February SOUTHWESTERN MUSICIAN column, my last as your Vocal Vice-President, I am awed by the two years of eye-opening events that I have been privileged to witness. I am in disbelief that the time has flown by. I have watched passionate teachers tirelessly providing exceptional musical experiences for their singers. I have been part of an audition process with over 25,000 hopeful high school students taking on challenging repertoire, practicing countless hours, and enduring grueling auditions for a coveted All-State chair. For most of them, the pride comes in the process, and they are left with the knowledge that they are quite capable of anything they can envision.

Participating in TMEA Board meetings with leading Texas music educators and the TMEA staff leaves me speechless. The minds, the vision, the creed, and the unwavering standards set by this

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“Thank you so much for making this camp so great!”

DEPARTMENT OF MUSIC

Admissions & Scholarship

AUDITIONS 2015 AUDITION DATES*

February 21 March 14 March 28

The Texas A&M University-Commerce Wind Ensemble and Chorale in performance of the world premiere of “The Temptation of St. Anthony” by James Syler performed at the Morton H. Meyerson Symphony Center in Dallas, Texas.

DEGREES Offered:

To APPLY:

Bachelor’s and master’s degrees in Music with emphases in Performance and Music Education

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*Additional dates upon request. Auditions are required of all entering and transferring music majors.

Performance.

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Jazz Director Symposiums â&#x20AC;&#x201C; TJEA hosts several jazz director symposiums each school year. These symposiums are designed for all who desire to increase their understanding of and competency in jazz education. These V\PSRVLXPV VHHN QRW RQO\ WR ÂżOO WKH NQRZOHGJH JDS PDQ\ WHDFKHUV IDFH EXW also to provide an excellent supplemental learning opportunity for everyone.

TJEA Newsletter â&#x20AC;&#x201C; You will receive a TJEA quarterly newsletter with articles, news and information about jazz in your community.

School Grant Program â&#x20AC;&#x201C; Each year TJEA awards up to ten schools grant money to enhance and grow their jazz program. It is the goal of this program to get money and support into the school music programs to help to facilitate the learning, performing and growth of the Americaâ&#x20AC;&#x2122;s classical music, jazz.

TJEA is a Jazz Information Resource â&#x20AC;&#x201C; As a member of TJEA, you will have access to a comprehensive list of jazz artists, concerts, festivals, camps, clinicians and a resource team in your area.

Support Jazz Education â&#x20AC;&#x201C; Your dues will help TJEA to fund the many programs that support jazz teaching and learning in Texas. Your dues will also help us to continue to support and be involved in the music organizations in Texas including TMEA, TBA, TODA and TCDA. Become a leader in Jazz Education â&#x20AC;&#x201C; By joining TJEA, you will have a voice and a leadership role in the continued enhancement of jazz teaching and learning in our state. Active members have the opportunity to make their voices heard, share ideas and successes, and become a part of a network of jazz educators in your community.

At Midwestern State University our students benefit from a high-caliber music program set in a private educational atmosphere but with the affordability of a public university.

The individualized attention of our program is one distinct factor that sets MSU apart from other universities.

Midwestern State University Department of Music is a fully accredited member of the National Association of Schools of Music (NASM) and the Texas Association of Music Schools.

54 Southwestern Musician | February 2015

P at urc th ha e I se nf tic o B ke oo ts th !

FEB 11

The Swingle Singers

$10 T I C K E T S

8 PM

PRESIDENT’S CONCERT

LIL A COCKRELL THEATER

W W W.T M E A .O R G/P R E S I D E N T S C O N C E R T Southwestern Musician | February 2015 55

illustrious group are truly humbling.

After serving in various roles at TMEA conventions for the past 10 years, I am a little melancholic as I anticipate this final convention while serving in this role for the Vocal Division. For those who have done this job before me, thank you for the ears, the shoulders, the debates, the after-midnight discussions, the ideas, the gentle nudges, and the full-out buckets of cold water! For those who will take on this role, or any other volunteer leadership role in TMEA, my hope is that your time will be as satisfying and fruitful and that I may offer to you what others have for me.

2015 Clinic/Convention Update I hope this finds you excitedly awaiting our convention that is just days away! If you were unable to preregister, you can still register on-site in San Antonio. For information on that and more, see page 8 and visit www.tmea.org/convention. Be sure to thoroughly review your convention program when you arrive and know that, like last year, in addition to the thorough schedule details and more, it con-

56 Southwestern Musician | February 2015

tains a concert repertoire listing for each All-State, Honor, and invited group— what a fantastic resource!

Remember to make time in your schedule to attend the performances of our invited choirs, clinics by our featured clinicians, All-State rehearsals, as well as the many technology sessions that are part of the TI:ME Music Technology National Conference. Be sure to attend the Vocal Division Business Meeting on Thursday, February 12, at 5:30 P.M. in Ballroom A. Along with other business, you will be electing the next Division Vice-President.

Take time to be a vital part of our future!

Swingle Singers Come enjoy this performance of the Swingle Singers as they begin their sixth decade of performance. TMEA is proud to present this concert to convention attendees at the very low rate of $10/ticket.

If you purchased tickets online, or if you want to purchase them on-site, go to the Information Booth in the registration area Wednesday 1–7 P.M. Following

that, go to the ticket table outside the Lila Cockrell Theater lobby.

The is certain to be an incredible concert and an amazing way to begin your convention experience, so don’t pass it up!

For half a century, the Swingle Singers have pushed the boundaries of what the human voice can achieve. Their effortless agility and blend, combined with captivating showmanship, have thrilled audiences around the globe. Today’s Swingle Singers are an international a cappella phenomenon. These seven extraordinary voices deliver folk ballads, funk jams, and fugues with equal precision and passion— keeping the classic Swingle sound alive while fearlessly exploring new styles and approaches.

The lineup has never been stronger than in its current composition, with singers trained in a multiplicity of styles from opera to jazz to pop, and featuring a dynamite vocal rhythm section. For the first time in many years, their repertoire also includes original songs.

Summer Music 2015 TCU Percussion Camp June 10 & 11 Brian West, director TCU Harp Workshop June 10 & 11 Laura Logan Brandenburg, director TCU Saxophone Workshop June 22 & 23 Joe Eckert, director TCU Flute Workshop June 24 & 25 Shauna Thompson, director TCU Clarinet Workshop June 29 & 30 Gary Whitman, director TCU All-State Choir Camps Purple Camp, July 12 - 15 White Camp, July 15 - 18 Sheri Neill, director Kenneth Davis, conductor New! TCU String Workshop July 27-29 Elisabeth Adkins, JesĂşs Castro-Balbi, directors ctors

For registration materials, please visit our website at www.music.tcu.edu/smi.asp or contact the TCU School of Music at 817-257-7341

All Learners Can Succeed in Music Class

By Laura Meehan

M

ost teachers have likely had some level of experience with incorporating special learners into their classroom. The challenges inherent in this inclusion continue to be a popular topic in the world of music education, and rightfully so. Research repeatedly shows that studying music can have great benefits in areas such as cognition, socialization, and support for students with disabilities. However, studies also steadily report that music educators do not always feel prepared and confident when it comes to teaching students with special needs. Between Friday night football games, scheduling PTA performances, figuring out what to play in next month’s concert, and more—all on top of preparing for and delivering instruction during class—who has the time and energy to dedicate to teaching students with special needs?

With more inclusion policies in place, budget cuts, and wider teacher-to-student ratios, it is more important than ever for music educators to find ways for all learners to experience success in the music classroom. In my work with music students who have special needs, I have found the following ideas and strategies essential in facilitating learning in a way that includes all. Not only are they crucial for the inclusion of students with special needs, but they also inherently involve and affect all students in the process.

THE BUDDY SYSTEM According to Bloom’s Taxonomy, one of the highest levels of learning is creating; you have truly learned something when you can create an idea and teach it to someone else. Take advantage of this by implementing a buddy system where more experienced students teach younger peers, or strategically pair up stronger students with those who still need assistance.

Unlike typical academic classroom setups, the music classroom can easily be structured into smaller groups working on different activities. Allow students who are excelling to work together with those who need additional attention. This will encourage student

58 Southwestern Musician | February 2015

learning, instill confidence in the student who is teaching, and create a safe social atmosphere for the entire group.

More mature high school students will often realize when a student with a disability is having difficulty in your ensemble.

Invite students to be peer helpers and allow them to teach others. In addition to helping you with classroom management, this offers students a sense of responsibility and shows students with disabilities they are valued.

KEEP IT SIMPLE AND CONSISTENT Learners with special needs often respond best to firm and consistent structure. Students with behavioral challenges especially need consistency. The challenge is establishing that in an environment that by its nature is more chaotic than other classrooms. With that in mind, it is important to establish boundaries with your students and stick to them.

Display a short and simple list of rules in your classroom where students will see them daily. Include a picture illustrating each rule (e.g., a student throwing away gum). Visual reinforcement helps some students with disabilities process the information more quickly. Some may even need the rules list on their stand, or they may need to sit closer to the visual reminder. Establish nonverbal cues to remind students in a way that minimizes the interruption as well as the personal embarrassment or anxiety that could result. This can help keep emotions from escalating.

If you teach special learners who often become agitated or act out, it could help to meet them at the door and inform them of the day’s overall lesson plan. This gives you a way to connect with the student and see how they are doing and gives them a heads up for the class schedule.

ADAPT THE ADAPTABLE While this seems obvious, it’s not always simple. First, adapt your expectations. What do you really want students with special

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needs to achieve in your classroom?

Learning how to read music? Being able to socialize with peers? Successfully performing in a concert in front of friends and family? There are endless possibilities, but whatever the goal, make sure it is reasonable and obtainable for each student. Goals for each student might vary greatly, but with appropriate goals established, each student can gain something valuable from your classroom.

You could, for example, adapt their music to only the first note of each measure. Or, if a student has mastered concert B-flat on their instrument, highlight all of those notes and have them play only the highlighted notes. Try color-coding the notes rather than using them on the staff.

Colors are something the student likely already knows and can easily understand.

While it is not traditional notation, it may

You are not expected to know how to work with every student who has a disability, but you are expected to learn how to create the best musical learning experience possible. help them follow along more easily with the rest of the ensemble. If they are able to adjust to these adaptations rather quickly, you can start to reduce them or add additional skills. The same type of ideas can be applied to rhythms. Draw out the durations of notes or write them above the student’s music. (More examples of specific adaptations are offered on page 63.)

Also consider adapting your classroom setup. While you might traditionally seat trombones in back next to the low brass, this might not be the optimal placement for a student with ADHD who tends to

frequently be off task and becomes a distraction to his peers. Move this student to a place where distractions are minimized, and make sure there is nothing surrounding this student’s stand that could easily interfere with rehearsal. When it’s absolutely necessary that all trombones be in a traditional band setting, prepare the student in advance by giving clear behavioral expectations. Utilize other staff members to stand in the back and ensure the students are following instructions.

Regardless of the adaptation, do your best to be subtle to minimize attention on

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I NT RO DUCING O UR NEW DI R EC TOR’ S TRAC K! • Earn CPE credits while your students learn their All-State Music

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COST: Including Room and Meals • FREE when bringing at least 10 campers • $200 when bringing at least 5 campers • $325 with less than 5 campers

We invite all high school students who love to sing and who have a desire to advance their technique to join us for the All State Choir Camp at Hardin-Simmons University.

Campers will learn ALL of the All-State music, performing a portion during the end of the week concert.

Tuition & Fees Non-refundable Registration Fee (applies towards tuition) - $50 Dorm Residents, Including Meals - $325 Day Campers, Including Meals - $275 Late Registration (after June 8) - $350 A $100 discount applies for past All-State choir members CO N D U C TO R S Dr. Clell Wright - HSU Director of Choral Activities Dr. Dee Romines - HSU Associate Professor of Choral Music Education

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the students with disabilities. It is likely they get enough unwanted attention as it is. Help make the music classroom a safe and positive environment. If other students ask why their peer gets different music or assignments than the rest of the class, simply tell them that is the plan you have for that student and it should be none of their concern.

DISCOVER NEW TECHNOLOGY There are a multitude of helpful assistive devices for students with disabilities.

Find out if your student uses any in their other classes. It could be easily adaptable for the music classroom, and they will already know how to use the device. There are many excellent iPad apps for special learners. The Children with Exceptionalities Special Research Interest Group website offers a wealth of resources to help music educators, including an updated list of effective apps. To access this list of apps, go to www.tmea.org /musicapps (look for music-related apps in the Apps by Category listing).

Establish a listening station in your classroom where students can listen to recorded music using headphones. This can be used as a reward when a student has been able to stay on task for the first half of your class. Allow them a five-minute break while you work on something else with the other students.

Let your students play games or activities together in groups on an iPad or SMART Board, incorporating the music objectives you are working on that week.

This could easily be used in conjunction with the buddy system mentioned earlier and allows for special learners to work with their higher functioning peers while learning together.

IF YOU DON’T KNOW, ASK SOMEONE WHO SHOULD You are not expected to know how to work with every student who has a disability, but you are expected to learn how to create the best musical learning experience possible. Work together with other staff members as a team to achieve this goal. Paraprofessionals, special education teachers, aides, and therapists within your school will become some of your best resources. They have been trained to work with special learners and have likely worked with these students in other settings. Behavioral tendencies, styles of

Adaptations & Additional Resources As you consider how to accommodate students’ needs, begin with these concepts: simplify the music, be aware of students’ surroundings, know their triggers, use visuals, and employ creative notation. The following are examples of specific accommodations: • Rebecca, a clarinet player, is unable to keep up with the melodic line in a march, so her director rewrites her part to match the saxophone’s upbeats.

• Bobby, a fourth grader, has difficult time being still during music. The teacher moves the extra Orff instruments out of reach until they’re to be used during the lesson. She also assigns Bobby to sit where distractions are minimal.

• Brian, a tuba player, becomes agitated when there is a sudden loud noise. While preparing to play “Sleigh Ride” at this winter’s concert, his director prepares him to hear the slapstick. By having him listen to a recording, showing him how the instrument works, and giving him a cue during the first few rehearsals, Brian becomes comfortable with the sound and can control his emotions.

• Ella, a middle school choir student, has trouble staying organized and on task and is a few grades behind in reading. Her choir director provides a visual schedule for the entire class to follow each day and modifies it so that Ella can read and know what is expected of her.

• Andres, a first grader, has difficulty processing new information. Colors are something he is comfortable with, so his music teacher uses color notation. She uses different teaching materials with coordinating colors to teach him the difference between the notes and melodic lines.

Online Resources: The following URLs link to websites with valuable information to help you teach students with special needs: • Children with Exceptionalities Special Research Interest Group: tmea.org/Meehan1.

Developed by music educators as a resource for inclusive music education, it includes research in music in special education, apps, websites, books, and more.

• University of Texas Center for Music Learning/Disabilities Information: tmea.org/Meehan2.

General information is offered about various disabilities and organizations that offer support. It also includes educational implications for students with disabilities that can be very helpful for music educators • National Association for Music Education/Special Learners Channel: tmea.org/Meehan3.

Online webinars given by music educators offer different ideas and strategies for the music classroom.

learning, and successful instruction are all things they have helped these students develop. Learning about these teaching techniques and strategies will certainly benefit you, and your colleagues will appreciate your coming to them for support in working with these students.

Finally, do not forget about the parents of your special learners, and do not hesitate to ask them for guidance. They will understand best the challenges their child faces and the most productive approaches to help them in various situations. While you still have to apply that knowledge to the music classroom and your instruction, parents are the best place to start to ensure you do the most you can to support each

child’s success.

Teaching students with disabilities can result in some challenging tasks, but each of us must do the best we can to fully include these students in the music classroom. Special learners benefit from music education just as much as other students benefit from creating music with their peers who are special learners.

Laura Meehan is a board certified music therapist, a certified Neonatal ICU music therapist, and a certified teacher in the areas of music and special education. Meehan is an invited clinician for the 2015 TMEA Clinic/ Convention.

Southwestern Musician | February 2015 63

Live Your Dream...

Del Mar College Department of Music 2015 Summer Music Camps Summer Orchestra Program June 4, 11, 18, 25-26, 2015 Contact Todd Ehle tehle@delmar.edu

Band Camp June 15 - 19, 2015 Contact Dr. Abel Saldivar Ramirez aramirez136@delmar.edu

All-State Choir Preparatory Camp June 29 - July 2, 2015 Contact Dennis Richardson drichardson@delmar.edu

www.delmar.edu www.delmar.edu A wide variety of scholarships are available.

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The best is yet to come B Y

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he 2015 TMEA Clinic/Convention is only days away! The TMEA staff and Executive Board have been working for a full year preparing for our best convention ever! The Elementary Division will have over 40 inspiring sessions, including our invited performing groups and clinicians, who are guaranteed to awe you and inspire your teaching for the coming year.

This weekend, curl up with your laptop or tablet and plan your personal TMEA schedule online at www.tmea.org/personalschedule. You can log in to search and save your schedule. This is the important first step to creating your Continuing Professional Education record to submit to your school.

When you search the online schedule, take a moment to review session notes provided by the clinicians to help you create the best schedule that fits your needs. Planning your schedule may be the most difficult thing about attending our convention that includes over 500 events! Be sure to note when the performing groups are presenting their concerts and attend at least one or two.

Not only will these advanced groups amaze you, but you will also hear some great new music you could perhaps use with your own performing groups in upcoming months.

Prepare to Teach the New TEKS The new Fine Arts TEKS have been updated and approved and will be implemented beginning with the 2015–2016 school year. Be sure to attend sessions

ELEMENTARY NOTES IMPORTANT DATES February 11–14—TMEA Clinic/Convention in San Antonio.

March 4–5—Arts Education Days at the Capitol.

April/May—Attend your spring Region meeting.

April 1–June 1—Submit clinic proposals for the 2016 TMEA Clinic/Convention.

May 1—Postmark deadline for the 2016 TMEA Clinic/Convention performing choir application.

When you search the online schedule, take a moment to review session notes provided by the clinicians to help you create the best schedule WKDW ÀWV \RXU QHHGV Southwestern Musician | February 2015 65

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that will highlight these new standards for our elementary music students. You’ll want to have the latest and greatest information to share with your principal as a thank-you for allowing you to attend the TMEA convention.

Another exciting event this year is Proclamation 2015, which provides for the selection of new instructional materials for use in our music classrooms. TMEA is hosting an Instructional Materials Showcase so that you can learn more about what the various companies are offering.

When you search for Elementary events in the online schedule, the Instructional Materials Showcases that apply to elementary grade levels will display, and you can add them to your personal schedule.

new Elementary Vice-President. A new Vice-President will bring fresh ideas and a different perspective to our highly creative TMEA Executive Board and staff. Be sure to attend our Elementary Division Business meeting on Thursday at 5:30 P.M. in Ballroom C1.

It has been an honor to serve you these past two years and I look forward to a very promising future for the Elementary Division where, indeed, the best is yet to come!

Get Ready The following are some high-level reminders to help you prepare to make the most of your convention attendance:

Elementary Vice-President Election This is the year our division elects a

• Download the convention mobile guide app. This app will allow you to have the most updated convention information. Each time you open the app on your device, it will update with

the latest version (e.g., if there are any changes to session times or locations, or if a session has canceled, you will see notification of that change).

• Contact vendors before the convention. For the best deals and to ensure product availability, contact your favorite vendors to reserve your items. Be sure to bring your district purchase order paperwork.

• Don’t miss our featured clinicians.

Rochelle Mann, our Kodály clinician, and Debbie Imiolo, our Orff clinician, will inspire you with their unique approaches and clever teaching ideas.

• Attend the elementary concerts. Our performing groups are again outstanding this year. Support these amazing groups and gather ideas for your school programs.

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• Visit the exhibits. We will have a record number of exhibitors this year with new, innovative ideas and equipment for your elementary music classroom.

Take time to peruse each exhibit hall—they both will be filled with the latest offerings at the best prices!

• Attend technology sessions. Learn about the latest technology to enrich your classroom curriculum and increase your productivity. If you’ll be in San Antonio on Wednesday, take advantage of the TI:ME Music Technology Preconference, offering over 30 technology clinics for a registration fee of $50 (purchase orders are not accepted for this registration on-site).

• Attend the Elementary Division business meeting on Thursday at 5:30 in Ballroom C1. We are extremely pleased to announce that our keynote speaker this year will be Sara Hickman, a dynamic musician, performer, and composer. She will delight, entertain, and serve as a wonderful inspiration to you as you bring all that our convention offers you back to your home campus.

Sara Hickman Sara Hickman is an Official State Musician of Texas. She served 2010–2011, as decreed by the Texas State Legislature.

Hickman creates music for adults, families, and children. In honor of her role as state musician, Hickman strives to give back to her home state. In May 2011 she released “The Best of Times,” a compilation CD of her songs recorded by other amazing Texas musicians, and all proceeds go to Theatre Action Project. TAP works to put art, music, and theatre back into public schools. Hickman most recently released Newborn, Too, an album of sleepy songs intended to encourage parents to sing to their children. Among many other recordings is an animated DVD for children entitled Big Kid, Little Kid (which immediately won Dr. Toy’s award for Best Summer Vacation item) and Sweet Songs, a collection of Austin female musicians singing songs for families. She’s known for her one-of-a-kind live shows, which can vary from intimate and soothing to hilarious and rocking. She can deliver it all as a solo performer or part of either her adult-driven or rocking children’s band.

Whether it’s The Tonight Show, Carnegie Hall, outdoor amphitheaters, schools, or house concerts, Hickman is excited to bring her joyful, creative music to her audiences.

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Southwestern Musician | February 2015 71

Music in the Education Evolution

By Ann Clements

I

n this digital era, communication is pervasive and is driven by the exponential growth of knowledge and ever increasing access to it. Today, many believe schools are rapidly approaching a tipping point after which teaching and learning will never be the same. The catalyst for this change is the revolution of learning through digital resources and social media. Changes in communication and increased access to information via the Internet have shaken the very walls of educational institutions.

While the degree to which modern forms of learning, such as the use of informal and formal online resources, will disrupt or transform traditional schooling remains unknown, two things are certain: (1) we are at a time of renewal, and institutions and educators who are agile and adaptive through this renaissance will fare better than those who aren’t; and (2) music education can be at the heart of this transformation by providing students the ability to think in abstraction, allowing for the creative reinvention of society.

Education’s Slow Rate of Change Schools are institutions, and institutions are simultaneously one of humankind’s greatest and worst inventions. The intention of an institution is to manage a group of people around a common goal. As Jim Gee explains, institutions are designed to think for us by taking the difficulties of decision-making, planning, reflecting, and problem-solving and freezing them into policies. The problem is that once a solution is frozen, it takes a tremendous amount of work to unfreeze it, have it reconsidered by others, and refreeze, or institutionalize, this new direction (Gee, 2013a).

Institutions are also prescriptive. Schools prescribe the learning processes that can take place within them. They establish meeting times, class schedules, class locations, and even the exact date and time by which students should prove their mastery of a subject through a final exam. Institutions purposefully limit students’ ability to customize their learning, and any optimiza72 Southwestern Musician | February 2015

tion by students is nearly always viewed as an attempt to cheat the system.

Institutions—including schools—are built on the concept of management. There are school boards and school administrators, and this concept of management trickles down to the classroom, where often the teachers are managers of their students’ engagement and learning. As Daniel Pink asserts, the problem with management is that it is about compliance and control, which worked until the end of the 20th century but has utterly fallen apart in the digital era (Pink, 2009). Digital society requires engagement, not compliance, and the technology of engagement is not management, it is self-direction. Self-direction calls into question the necessity of institutions that are built on managing groups of people. Self-direction requires an intimately personalized education based on customization and the ability to optimize learning to personal benefit.

The dysfunctional nature of institutions is particularly pronounced now, as for the first time in history, institutions face competition. The advent of digital and social media is allowing humans to democratically coordinate the activities of large groups of people and to efficiently and effectively organize without the need of an institution.

Considerations Toward Our Future Modern learning in the digital age is based on information that is fluid, dynamic, collaborative, and shared—all things that schooling has traditionally struggled to be. Schools are built on stability, tradition, and a core set of skills. While schools have hesitated, society has not only accepted the digital age but also has allowed it to be pervasive in every other aspect of their lives.

Schools must change as the world changes. In the digital age “stability, not change, is the state that is most dangerous in highly dynamic competitive environments” (McGrath, 2013, Para. 306).

In 2012, IBM surveyed 1,700 worldwide CEOs asking what they look for in new hires. The four most desirable traits were

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communication, collaboration, flexibility, and creativity (IBM, 2012). Gone from this list were the actual skills that schools spend an incredible amount of time teaching, such as individualized subjects of math, science, and language arts. The old business adage, hire traits, train skills, should be updated for today’s dynamic environment to hire traits that enable ongoing renewal of skills. This approach calls on schools to foster learning environments that allow students to develop four vital learning innovation traits: critical thinking, communication, collaboration, and creativity.

I can think of no other course offerings that are as critical in the development of these traits as music and the arts.

The greatest achievement of humanity may very well be our ability to develop creative solutions to the problems that afflict us, and it is through abstraction that these solutions are devised. Pink (2011) refers to this as artistic cognitive skills, and he believes they are the most important traits needed today, as musicians and artists provide the vision, creation, and composition skills that many scientists and business people do not have. It’s the musicians and the artists who create the largest leaps in society by providing people with things they did not know they were missing or that they needed.

In a unique study from the Harvard Business School, 23 artists submitted 10 of their commissioned works and 10 noncommissioned works of art, totaling 460 original pieces of art. These works were on display and evaluated by selected art experts (including critics and gallery owners) using predetermined criteria. They concluded that while there was no discernable difference between the technical skills and overall quality demonstrated in the works, the commissioned works were considered to be significantly less creative.

In response, they interviewed the artists and found the same word being used repeatedly—constraints. Under constraints, the artists believed they could do a good job, but not a great job (Amabile, Conti, Coon, Lazenby, and Herronm, 1996).

For most of our lives as students, the work we do in school is “commissioned work.” Music and the arts are the few places within formal schooling where students can work freely and creatively on personally meaningful work. Music and the arts, when taught artfully, allow for student voice, choice, and control over the

To view Dan Pink’s compelling keynote address “A Hard-Headed Case for Arts Education,” delivered to the TMEA membership during its 2009 convention, go to www.tmea.org/Pink. curriculum and the approach.

In a study aimed at the concept of motivation, workers at multiple companies were sent daily emails that asked a simple question, such as, “Were you motivated today, and if so, what motivated you?” (Amabil and Kramer, 2010). This was a longitudinal study that went on for years with an incredible amount of data nearing 120,000 daily diary entries. While historically we have come to believe that recognition for good work is the most important factor in motivating others, this study found that workers were motivated the most on the days they believed they were making progress in meaning ful work.

Humans want to feel that their contributions are of value and that what they work on or create is meaningful. Progress on meaningful work is key to motivating student learning in school and for students’

continued learning and development beyond their school years. Unfortunately, schools have a long history of focusing on content, the how portion of the equation. What is missing is the crucial focus on why the objectives students are being asked to learn is of importance to them and the world around them. “Humans learn through experiences in the world.

They do not learn through experiences in classrooms, unless those experiences are based on experiences in the world” (Gee, 2013b).

Music Education in the Digital Age Given the availability of information and learning in the digital age, music educators must begin to hack their own practices and modify the functionality of their teaching in ways that meet the needs of today’s students. Through

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both traditional and digital means, music education classrooms can become places were students use experimentation to create new works of art that demonstrate an ability to think creatively, collaborate with others, and convey ideas through music.

Composition and improvisatory activities provide the open spaces that enable students to create from a variety of contexts. Social media and open sources of information on the Web allow students to experience multi-musical soundscapes that can expand their understandings of music and its role in local and global settings and communities. Most importantly, a quality music education can teach the traits students need for self-direction, creative thinking, and lifelong renewal.

Music educators need to recognize that the forces of change that are encroaching on today’s schools are a summons to action and that “education must face its new reality head-on and be proactive and progressive” (McHaney, 2011, p. xix).

We must find new models to the old concept of management to lead students not into compliance, but into new realms of self-direction. Does it have

to be a choice between new technology and sound pedagogy? The answer to this question is, of course, no. But we need to anticipate this evolution and reinvent ourselves while preserving good pedagogical practices.

References Amabile, T.M., Conti, R., Coon, H., Lazenby, J., & Herronm, M. (1996).

Assessing the work environment for creativity. Academy of Management Journal, 39(5), 1,154–1,184.

Amabile, T.M. & Kramer, S.J. (2010).

What really motivates workers. Harvard Business Review, 88(1), 44–45.

Gee, J.P. (2013a). The Anti-Education Era. Palgrave MacMillian. New York: NY. Gee, J.P. (2013b, April 7). Ten Commandments for Educators. In www .jamespaulgee.com, personal blog space.

Retrieved from: www.jamespaulgee .com/node/70.

IBM Institute for Business Value. (May, 2012). Leading through connections: Insights from the global Chief Executive Officer study. IBM: IT

Services. Retrieved from www-935 .ibm.com /ser v ices /us /en /c-suite / ceostudy2012/ McGrath, R. (2013). The end of competitive advantage: How to keep your strategy moving as fast as your business [Kindle version].

Retrieved from Amazon.com McHaney, R. (2011). The new digital shoreline: How Web 2.0 and millennials are revolutionizing higher education. Stylus Publishing. Sterling: VA. Pink, D. (2006). A Whole New Mind: Why Right-Brainers Will Rule the Future.

Penguin Book (USA) Inc., NY: New York.

Pink, D. (2009). Drive: The Surprising Truth About What Motivates Us. Riverhead Books. New York: NY. Richardson, W. (2012) Why school? How education must change when learning and information are everywhere [Kindle version]. Retrieved from Amazon.com Ann Clements is an associate professor of music education at The Pennsylvania State University, School of Music, and is a 2015 TMEA College Division Featured Clinician.

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COLLEGE NOTES IMPORTANT DATES February 11–14—TMEA Clinic/Convention in San Antonio.

April/May—Attend your spring Region meeting.

April 1–June 1—Submit clinic proposals for the 2016 TMEA Clinic/Convention.

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roviding supplemental musical experiences within our community is one way in which departments and schools of music can share our gifts while advocating for our profession. From children’s symphony concerts to beginning musical instruction, our programs have the opportunity to launch students on a musical journey they may never have known about otherwise.

Students and faculty at the University of North Texas are starting students off right by providing a chance for children to get up close and personal with instruments before choosing the one they wish to study.

A Trip to the Zoo Since 2006, the Division of Music Education at the University of North Texas has sponsored an Instrument Petting Zoo for local students in grades 2–5 and their parents. Typically, 275–300 people attend the Zoo each year. Don Taylor, Associate Professor of Music Education, coordinates the program and shared the program aims: “The Instrument Petting Zoo serves a threefold purpose: to provide children with early, authentic experiences with the instruments of the orchestra, to engage parents in their children’s early musical endeavors, and to provide UNT’s pre-service teachers with authentic teaching opportunities.”

The Petting Zoo begins with a short concert featuring UNT’s top chamber

Our programs have the opportunity to launch students on a musical journey they may never KDYH NQRZQ DERXW RWKHUZLVH 78 Southwestern Musician | February 2015

DEPARTMENT OF MUSIC PROGRAM AND SCHOLARSHIP AUDITIONS Saturday, Feb. 28, 2015 and Saturday, March 21, 2015 11-11:45 a.m. • Thursday, Feb. 12 • CC East Registration UTB Marimba Quartet Musical Showcase Performance 12:30-1:15 p.m. • Thursday, Feb. 12 • CC East Registration UTB Marimba Reyna del Valle Musical Showcase Performance Noon-12:45 p.m. • Saturday, Feb. 14 • CC East Registration UTB Contemporary Percussion Ensemble Musical Showcase Performance

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ensembles. Members of each ensemble perform short, upbeat pieces and then demonstrate each instrument’s unique timbral qualities. Following the concert, children and their parents are divided into groups that rotate through four centers featuring woodwind, brass, string, and percussion instruments. The centers, located throughout the college of music facilities, are staffed by 70 pre-service music education student volunteers.

Dillon Downey, one of the student volunteers, remarked, “The Instrument Petting Zoo really helped me see what

kids need from the very beginning. It was also exciting to see their faces as they played the instruments! The parents got excited too, and I was just really glad I could be part of that experience for them.”

The parents in the community also value this experience for their children.

First-time attendee Katrina McPherson, a local Girl Scout leader, exclaimed, “The Instrument Petting Zoo is amazing! Our entire Girl Scout troop, ranging from Brownies to Cadettes, signed up as a troop activity to earn a music badge. We will definitely mark this on our calendar

SACRED MUSIC AT OLLU SPRING AUDITION DATES: February 7 April 11

OUR LADY OF THE LAKE UNIVERSITY OFFERS: Bachelor of Music in Sacred Music Bachelor of Music in Sacred Music with a concentration in MexicanAmerican Music Minor in Music THE PROGRAM EMPHASIZES: Choral conducting Ethnomusicology Mexican-American music Music ministry Music theory Music history Music technology Performance study

APPLICATION AND SCHOLARSHIP AUDITION DAYS The OLLU Music Department will hold application and scholarship audition days on February 7, 2015 and April 11, 2015.

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

Dr. Elizabeth Dyer • 210-528-7082 • edyer@ollusa.edu • 200B Fine Arts Building www.ollusa.edu/MusicDept

82 Southwestern Musician | February 2015

every year.”

The Instrument Petting Zoo has a long-lasting impact, beyond that one night. Longtime parent attendee Thomas Earthman reflected, “Six years ago, my daughter came to the Petting Zoo with no musical background. Today, she is in Houston for a Region try-out.”

If you would like to learn more about the UNT Instrument Petting Zoo, contact Don Taylor at Don.Taylor@unt.edu.

If you would like to share a way that your college or university music education program is affecting your community, please email Michele_Henry@baylor.edu.

Convention Updates and Reminders The annual TMEA Clinic/Convention is almost here! This is the time each year we are able to learn and grow as professional music educators, collaborate with each other, and reunite with many alumni who are now professional music educators themselves. It is always a rewarding and exciting time! As you make your plans for the convention, please take note of these important reminders: • The Research Poster session, presided

by Amy Simmons, is on Thursday, 3:45–5:15 P.M., in the CC Park View Lobby (outside room 217). View over 40 research presentations all in one location, and engage in conversation with some of the finest music education researchers in the country.

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Get ideas for your own research and teaching, and invite your students to do the same.

• The College Division Business Meeting follows immediately after the Research Poster session at 5:30 P.M. in CC 212. Be a part of the business of our division, and enjoy listening to the winning composition from our new composition competition. We will also continue our discussion on student-teacher supervision and the new Texas Administrative Code.

• A keynote session for College Student members, featuring Bob Duke from the University of Texas at Austin, is on Friday afternoon at 2:30 P.M. in CC 001. Encourage your students to attend.

• Following last year’s successful start, the Graduate School Fair will again take place on Friday, February 13, 4:00–5:30 P.M. in Exhibit Hall A. • College Night will also be held in Exhibit Hall A, 6:00–8:00 P.M., on Friday, February 13.

• The College Division Featured Clinicians are Kelly Parkes from Virginia Tech University and Ann Clements from Pennsylvania State University. Please make it a point to attend their sessions, which span a wide variety of topics for both college faculty and college students.

• The General Sessions are more than worth the time! Scott Barry Kaufman, Scientific Director of the Imagination Institute at the University of Pennsylvania, will be the keynote speaker for Thursday’s General Session. Vijay Gupta, violinist with the Los Angeles Philharmonic and Artistic Director for the Street Symphony, is Friday’s keynote speaker.

Outstanding Artists, Outstanding Teachers

If you weren’t able to preregister, you can register on-site at the convention. For registration information and much more about this event, go to www.tmea.org/ convention. It’s going to be a wonderful convention. I hope to see you all on the river!

WOODWIND STUDIES FACULTY (Left to Right) Dr. Chris Beaty, Assistant Professor of Saxophone Dr. Jody Webb, Adjunct Professor of Clarinet Dr. Julee Walker, Assistant Professor of Flute Dr. Laura Shouha, Adjunct Professor of Oboe Dr. Mary Druhan, Associate Professor of Clarinet Ms. Jonna Griffith, Adjunct Professor of Bassoon

84 Southwestern Musician | February 2015

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