September 2017 Southwestern Musician

S SEPTEMBER 2017 20

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SEPTEMBER2017 8 6

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I S S U E

contents

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features

V O L U M E

37

Program Transformation . . . . . . . . . . . . . . . . . . . . . . . 17 By working together using the model for complex change, you can successfully rebuild a music program.

BY DOUG FULWOOD, KE V IN WORTH Y, A ND BRIAN Z ATOR

Adaptations and Accommodations . . . . . . . . . . . . . . . 29 6WDUW XWLOL]LQJ VWUDWHJLHV WKDW FDQ OHDG WR PRUH HIĂ€FLHQW DQG HIIHFWLYH experiences in every instrumental or choral rehearsal setting.

BY ALICE HAMMEL

Making Connections to What Your Students Know and Love . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 %\ XQGHUVWDQGLQJ RXU VWXGHQWV¡ SRLQWV RI YLHZ ZH FDQ ÀQG HIIHFWLYH ways to connect our music lessons to their personal experiences and spark a greater interest in the classical roots of today’s music.

columns

BY AUSTIN AESCHBACHER AND STEPHANIE MILLER

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Presidentâ&#x20AC;&#x2122;s Notes ............................................. 4

Three music educators look back on the lessons learned during their Ă&#x20AC;UVW \HDU WHDFKLQJ DQG WKH SUHSDUDWLRQV IRU LW

by Andy Sealy

BY CARTER BIGGERS

Executive Directorâ&#x20AC;&#x2122;s Notes.................... 8

by Robert Floyd

Band Notes ............................................................11

by Joe MuĂąoz

Orchestra Notes ..............................................25 Vocal Notes ...........................................................33

by Derrick Brookins

Elementary Notes ..........................................40

by Casey Medlin

College Notes .....................................................49

by Si Millican

updates

by Brian Coatney Renew Your Membership ........................................................................ 2 Invest in the Future: Start a TFME Chapter ........................................... 6 Congratulations Honor Bands and Finalists ........................................14 2018 TMEA Clinic/Convention ..............................................................22 Congratulations Honor Orchestras and Finalists ................................27

On the cover: On the cover: Kailey Lopez, a sophomore at Roma HS, warms up before the 2017 All-State 5A Symphonic Band seating audition.

Photo by Karen Cross.

Southwestern Musician | September 2017

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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: Andy Sealy sealya@lisd.net 4207 Plano Parkway, Carrollton, 75010 469-948-3011 â&#x20AC;&#x201C; Hebron HS

Renew Your Membership!

All TMEA 2016â&#x20AC;&#x201C;2017 memberships expired June 30.

2016â&#x20AC;&#x201C;2017 liability insurance policies expired August 20.

Renew now to ensure you receive the benefits of your TMEA membership for the entire year.

President-Elect: Robert Horton rhorton@conroeisd.net 3205 West Davis Street, Conroe, 77304-2039 936-709-1200 â&#x20AC;&#x201C; The Woodlands HS

Past-President: Dinah Menger d.menger@sbcglobal.net 1305 Westcrest Drive, Arlington, 76013 817-891-1095 â&#x20AC;&#x201C; Fort Worth ISD

Band Vice-President: Joe MuĂąoz munozj@pearlandisd.org 3775 South Main Street, Pearland, 77581 281-997-3219 â&#x20AC;&#x201C; Pearland HS

Orchestra Vice-President: Brian Coatney brian.coatney@pisd.edu 1313 Mossvine Drive, Plano, 75023 469-752-9396 â&#x20AC;&#x201C; Plano Senior HS

Vocal Vice-President: Derrick Brookins derrick.brookins@pisd.edu 2200 Independence Parkway, Plano, 75075 469-752-9430 â&#x20AC;&#x201C; Plano Senior HS

Plan to enter students to an audition?

Your membership must be active to do so.

Thank you for being a TMEA member! The strength of music programs in our schools is rooted in the dedication of teachers like you, all united in a mission to provide the best music education for all Texas schoolchildren.

RENEW ONLINE TODAY

Just click Renew from www.tmea.org

Elementary Vice-President: Casey Medlin casey.medlin@fortbendisd.com 5555 Long Prairie Trace #618, Richmond, 77407 281-634-4634 â&#x20AC;&#x201C; Brazos Bend Elementary

College Vice-President: Si Millican si.millican@utsa.edu One UTSA Circle, San Antonio, 78249 210-458-5334 â&#x20AC;&#x201C; UT/San Antonio

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

70($ 2IĂ&#x20AC;FH 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 2IĂ&#x20AC;FH +RXUV Mondayâ&#x20AC;&#x201C;Friday, 8:30 A.M.â&#x20AC;&#x201C;4:30 P.M.

Membership â&#x20AC;˘ Renew Existing Membership â&#x20AC;˘ Become a New TMEA Member â&#x20AC;˘ Reset My Password â&#x20AC;˘ Update Member Information Verify and update your email and mailing addresses. Your receipt and membership card are sent to your email address.

Renew now, and remind your colleagues to do the same!

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 | September 2017

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PRESIDENT’S NOTES

B Y

A N D Y

S E A L Y

Lessons in customer service

W

hile we don’t typically envision ourselves as service providers fulfilling customer needs, those in the education profession do provide a service. Our relationships with stakeholders are much deeper and more complex than basic customer service—we are striving to mold young people into musicians and responsible citizens. Yet in many ways our students, parents, and taxpaying communities have the same expectations for us as they do for commercial entities. More and more our education clients are expecting the same customer service interactions that they experience outside education. We can take some practical lessons from the marketplace and look at things from a customer’s perspective.

The first lesson is straightforward. Ask yourself these questions: Is my music classroom neat, orderly, and inviting? Am I providing a physical environment that supports the musical mission and is welcoming to visitors? That’s a tough one for me as a band director during fall marching season; I can’t imagine walking into a place of business that looks like our band hall. If we were a clothing store or a dining establishment, we’d be out of business immediately.

Secondly, ask yourself whether you (or your assistant or booster club representatives) are greeting students and parents with a smile and portraying your program or music class in a positive light in the community. Does your staff treat your students with consistent kindness? This goes a long way toward building trust with students and reassuring parents you are going to work hard on their children’s behalf. A welcoming environment positively influences parents to be involved in your music classroom, from chaperoning to building

In many ways our students, parents, and taxpaying communities have the same expectations for us as they do for commercial entities.

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Southwestern Musician | September 2017

September—Renew your TMEA membership online and preregister for the convention.

October 2, 6 a.m. CT—TMEA convention online housing reservation system opens.

October 15–November 15—Apply online for a TMEA elementary grant.

November 1—TMEA scholarship online application deadline.

December 31—TMEA convention mail/fax preregistration deadline.

January 25—TMEA convention online early registration deadline.

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

WHAT STARTS HERE

CHANGES THE WORLD music.utexas.edu/apply

sets. Remember that manners are important and first impressions are lasting.

Along these same lines, if you are a department head or lead teacher, are you making your colleagues feel valued?

Research confirms that internal staff members need recognition and positivity, too.

Consider sending handwritten notes to peers recognizing outstanding concerts or thanking them for covering a sectional for you. This in turn will result in their better treating the students they serve. And what if you took it upon yourself to place one positive phone call to a parent about their child each week?

Increasingly our clients expect school communications and digital platforms to be as efficient, visually appealing, and easy to navigate as the best online retailers.

This is doubly true of social media feeds. In most cases, that trusted newsletter or hard copy of the choir handbook is no longer fashionable or acceptable. Today’s parents and students expect one-stop, easy-to-use, self-service options, with no redundancy and immediate results. They don’t want to have to contact you to find answers to simple questions that should be readily available online.

Try navigating your website without logging in and see if your FAQs about rehearsal schedules or grading policies really serve their purpose and are on message. Make sure parents get an autoconfirmation when they electronically submit a field trip permission form or want to sign up to chaperon a special event. For the majority of prospective students and parents, your website is their first exposure to your organization.

In addition, remember that special subgroup chats or booster club Facebook posts can also be some customers’ primary source of information about your program. It should all be family friendly. Take the time to educate your students and parents about digital citizenship, social media etiquette, and basic copyright rules to help maintain a positive digital presence for your program. Be sure you are also complying with any electronic media policies that your district has adopted.

Finally, make sure that your customer support doesn’t fumble the handing off of inquiries or information. Even if someone else in your organization needs to respond to an inquiry or concern, be sure the person who initially fielded the request also

Invest in the Future Sta r t a er t p a h c ll! t h is fa www.tmea.org/tfme Texas Future Music Educators is a TMEA-sponsored program that offers students who have an interest in music education an opportunity to provide service to their school music programs and to prepare for entry into college music programs.

1. Go to www.tmea.org/tfme to create a chapter—it’s easy!

4. Request a grant to help your chapter get started.

2. Market TFME to all high school music students.

5. Support TFME members and enjoy the VLJQLÀFDQW UHWXUQ RQ \RXU LQYHVWPHQW

3. Submit your chapter charter and dues to TMEA. If you have any questions about TFME, email kvanlandingham@tmea.org 6

Southwestern Musician | September 2017

follows up with the customer.

In these days of increasing competition for students by other elective offerings and from outside specialty programs and in the framework of the school choice movement, remember that everyone and everything becomes the face of your program.

TMEA Offers Elementary Grants The TMEA Executive Board has approved a grant program of up to $750,000 to support elementary music programs throughout the state. Like the grant program TMEA administered in 2013, active members who teach elementary music can apply for up to $800 in funds to purchase music equipment, instruments, instructional technology, and other educational materials. Multiple teachers from a district may apply.

To apply, elementary music teachers must be active members of TMEA. The online application period is October 15– November 15. You must provide a description of the exact product you intend to purchase, the supplier, and the cost. Suppliers must be TMEA Sustaining Members. For a list of those member suppliers, go to www.tmea.org/industry/directory.

Grants will be approved based on existing budget, number of students served, and other criteria as called for in the online application. Once a grant is approved, the applicant will order the product, and TMEA will pay the supplier of the product directly.

For more information and to apply, go to www.tmea.org/elementarygrant.

2018 Clinic/Convention Update Please make a point to read the VicePresidents’ columns in this issue for a preview of our convention’s featured clinicians. These nationally recognized master educators share their musical expertise and knowledge in multiple sessions during the convention. I’m sure you’ll want to include their sessions in your personal convention schedule. Also, please note that the online hotel reservations system opens for members on October 2 at 6 a.m.

CT. Hotel contracts are negotiated years in advance to keep these prices as reasonable as possible for our members.

This month, you’ll also find a preview of our convention’s clinic titles and presenters at www.tmea.org/clinicpreview.

MILLERSVILLE UNIVERSITY

Piano Festival 10.28.17 District Orchestra Audition Workshop 10.29.17

Shadow Day 9.26.17 Sh M Music Discovery Day 11.2.17

O b 24 October November 14 & 28 January 30 February 6, 10, 13, 20, & 24 “Where words leave off, music speaks. speaks.”

- H ei nr ic h H ei ne W INT ER VI SUA L PE RF OR M ING AR TS CENT ER 60 W. Cottage Ave. Millersville, PA C AL L U S 717-871-4701

EM AI L US music.admit@millersville.edu

EXECUTIVE DIRECTOR’S NOTES

B Y

R O B E R T

F L O Y D

It takes a village

I

regularly meet with a group of executive directors of nonprofit education associations to talk about issues we face in our day-to-day business and policy operations.

Earlier this month the topic of elections and appointment of board members expanded to include the election of region and district leadership and the policies that govern their operations. As I listened to my colleagues vent their frustrations on issues with leadership and overall loose operations at that level, I was quietly checking off my “glad we don’t do it that way” list. I am thankful that our organization’s Region policies and processes are all clearly defined both in our Constitution and Policies and Procedures documents.

Earlier this summer while you may have been traveling to San Antonio for the summer conferences, our Region officers and other volunteers at the Region and Area levels had already arrived to participate in rigorous policy training led by TMEA staff and members of the Executive Board. The following two days, Region divisional chairs met another two hours, with their state vicepresident further reviewing current policy and discussing issues of interest for review—a part of the ongoing process of improving our operations.

With the expansion to 33 Regions, there are now up to 231 Region officers, not counting middle school coordinators, computer operators for auditions, Area chairs, and others who serve in some official capacity in the Region operations. A very high percentage of those officers were present for the summer training in San Antonio; this speaks volumes about their commitment to carry out their duties in a professional and ethical manner.

If you now take into account the number of members who serve as judges, monitors, computer operators, clinic and Region event hosts, committee members, and convention volunteers, the thousands of hours contributed by our

Continued willingness by the membership to serve in a conscientious and dedicated manner is critical to our successful future.

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Southwestern Musician | September 2017

September—Renew your TMEA membership online and preregister for the convention.

October 2, 6 a.m. CT—TMEA convention online housing reservation system opens.

October 15–November 15—Apply online for a TMEA elementary grant.

November 1—TMEA scholarship online application deadline.

December 31—TMEA convention mail/fax preregistration deadline.

January 25—TMEA convention online early registration deadline.

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

members in these elected or volunteer positions is staggering. While you may think of these serving needs being limited to performance divisions, the elementary and college divisions also appoint committees that serve throughout the year or are created to address a specific issue or topic. Through the course of a year these members serve over 140,000 students in the audition process, touch the lives of almost 30,000 attendees at the convention, and serve their divisional membership through committee service.

So what is the reason for this reflection?

First and foremost, we owe thanks to the leadership of former executive boards who had the vision and recognized the importance of documented policy in TMEA’s operations, especially in the audition process, and to the boards that have continued to refine and expand policies over the years. The TMEA staff over time has also played a prominent role in this ongoing process as crafters of language and as monitors of Region rules to assure alignment with state policy. And finally, thanks go to the thousands of volunteers who make it all happen.

Good policy is important, but good

policy not appropriately followed is meaningless. The spirit of volunteering is the heart and cornerstone of the success of our association through the years. Continued willingness by the membership to serve in a conscientious and dedicated manner, then, is critical to our successful future.

In closing, never forget the good feeling one gets by serving in some capacity at any level. I am sure each of our leaders remembers that first time they volunteered for a TMEA event, in most cases within their Region. Personally I knew I had made the big time as a young teacher when I rode in the back of a pickup truck hauling percussion equipment to the Dallas Convention Center in preparation for the 1970 convention. You never know where service might lead!

Code of Ethics Expanded The TMEA Code of Ethics was developed 17 years ago during Robert McElroy’s presidency on the advice of our attorney.

He believed that during those litigious times such a document was critical to guide ethical behavior of our members. The purpose of this document, simply put, is to define the ethical standards of Texas music

educators. To quote the preface, “Texas music educators must clearly understand their duties and obligations to perpetuate the dignity and honor of the profession.”

This summer the Executive Board voted to expand the language to include references to social and digital media use. Relative to this topic, a music educator has the following responsibilities to the profession, the student, and the community: An ethical teacher: 1.14 Shall exhibit and model to colleagues and students ethical and legal practice when using digital media and conduct positive, socially responsible behavior when using social network communications.

2.14 Shall personally model and guide students to professionally and ethically utilize social network communications.

3.14 Shall use social network communications professionally, ethically, and with cultural sensitivity when engaging families and the community.

This is an important addendum that should be shared with your colleagues. To review the full Code of Ethics & Standard Practices, go to www.tmea.org/code.

Shape your artistry.

Offering programs in Brass Choral Conducting Contemporary Classical Music Collaborative Piano Composition Harp Orchestral Conducting Percussion/Marimba Piano Strings Vocal Pedagogy Voice/Opera Woodwinds Learn more at bostonconservatory.berklee.edu Southwestern Musician | September 2017

9

B Y

J O E

BAND NOTES

M U Ñ O Z

In Memoriam Randy Thomas Laran July 9, 1991–July 28, 2017

Review and adjustment

A

September—Renew your TMEA membership online and preregister for the convention.

September 1—Deadline to submit All-State etude errata to the Band Division Chair.

October 2, 6 a.m. CT—TMEA convention online housing reservation system opens.

October 21—Deadline to upload All-State Jazz audition recordings.

November 1—TMEA scholarship online application deadline.

November 11–12—All-State Jazz judging.

December 1—Honor Band preparations may begin.

December 31—TMEA mail/fax convention preregistration deadline.

January 13—Area Band and Vocal auditions.

January 25—TMEA convention online early registration deadline.

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

March 1—Honor Band entry deadline for classes 1C, 1A/2A, 4A, 6A.

s we settle into our routine of the first semester, I’d like to offer details about the revisions to the Honor Band process for 2018 submissions.

Before detailing the revisions, it’s important to consider the process that led to these adjustments. Under the Band Division’s normal review process, a committee convened in July 2016 to examine the existing guidelines and procedures that govern the Honor Band process.

During this review, the committee discussed the full scope of the Honor Band process and looked at a broad range of topics. This included everything from the validity of the process to the guidelines and procedures. The results of this review were communicated to the Region Band Chairs at their training held prior to the 2016 TBA Convention. A full Honor Band Committee report was distributed to the Region Band Chairs prior to the 2016 fall Region meetings.

This report detailed the discussion items and results of data provided by the Honor Band Committee. Feedback was gathered after the fall 2016 and spring 2017 Region meetings.

Major Concerns The main concerns presented by Honor Band Committee and TMEA members include the excessive amount of time spent by high school and junior high/middle school band programs in Honor Band submission preparations.

The committee cited many examples of ensembles working on Honor Band submission music for an entire year, a practice difficult to educationally defend.

These revisions are implemented to ensure the health and continued success of the Honor Band process.

Southwestern Musician | September 2017 11

Oklahoma City University

THE

ART

music education majors enjoy the performance opportunities of a

OF TEACHING

MUSIC

nationally ranked music school and an innovative curriculum that emphasizes hands-on aspects of music education and opportunities for real-life experiences. In our concentrated four-year program, students hone their teaching skills through classroom immersion under the supervision of veteran mentors.

www.okcu.edu/music

Dr. Michael Raiber Busey Chair of Music Education, Instrumental Music Education

Dr. Lani Garner

Prof. Tony Gonzales

Vocal/Choral Music Education

Elementary Music Education

Prof. John Schimek

Instrumental Music Education

Prof. Colton Hines Technology and Electronic Music in Education

The Honor Band Committee determined that implementing a preparation start date and a recording end date would be positive additions to the guidelines and procedures.

The committee also agreed that we should modify some of the allowed recording edits, including the wait time between movements and the editing out of applause at the end of selections (each considered a judging courtesy).

With online upload of recorded selections, combining multiple tracks from a multi-movement work into a single audio file was added to this allowed list. Tracks must be combined in the order of their performance by the ensemble.

Based on the committee recommendations, the feedback received from Region Band Chairs on behalf of their Regions, and the feedback submitted by TMEA members, the following guidelines will be part of the 2018 Honor Band process: 1. Honor Band submission preparations may begin on December 1. a. Examples of Honor Band submission preparations include, but are not limited to, prior performance,

sightreading, rhythm sheets, audition excerpts, or sectionals that are directly in support of or contain content within the repertoire planned for the submission recording.

2. A statement of compliance will be included as part of the entry documentation with the March 1 entry.

3. Entry forms will be uploaded as part of the March 1 and June 1 deadlines.

4. Recorded submissions are due by the date documented in the Region Honor Band procedures and will be no later than June 1.

5. The following will be added to the procedures regarding allowable edits of recorded submissions: a. Editing to eliminate excess time between movements of a multimovement work. b. Editing to eliminate audience applause. c. Combining multiple tracks of a multi-movement work into a single audio file for online submission.

i. Movements must be combined in the same order the movements were performed. ii. Combined movements must be from the same recording. d. Editing/matching of volume from track to track.

6. File compression is prohibited.

These revisions to the Honor Band guidelines and procedures are in effect for the 2018 Honor Band submissions. These revisions are implemented to ensure the health and continued success of the Honor Band process.

TMEA Clinic/Convention Updates It may seem early, but it is already time to start thinking about attending the 2018 TMEA Clinic/Convention. On October 2, at 6 a.m. CT, the TMEA convention housing for members will be available online.

Be sure to register for the convention when you renew your membership, or if you already renewed, return now to complete your registration so you can take advantage of the lower prices. In September, you can also go to www.tmea.org/clinicpreview

Southwestern Musician | September 2017 13

Congratulations, Honor Bands and Finalists Join TMEA in congratulating the directors and students of the following outstanding programs!

Class 5A Rank 1 2 3 4 5 6 7 8 9 10 11 12 13 14

School/ISD ........................................................ Directors Waxahachie HS/Waxahachie ISD ......... Richard Armstrong Richland HS/Birdville ISD .......................................Jason Bird Centennial HS/Frisco ISD....................................... Andy Rein Highland Park HS/Highland Park ISD .......Reagan Brumley Tomball Memorial HS/Tomball ISD .............Andrew Easton Cedar Park HS/Leander ISD ............................. Steve Wessels Roma HS/Roma ISD ............................................. Dena Laurel McCallum HS/Austin ISD ..................................Carol Nelson Crosby HS/Crosby ISD ....................................... Kevin Knight Poteet HS/Mesquite ISD .................................. Cody Newman Forney HS/Forney ISD ...........................................Mark Poole Elkins HS/Fort Bend ISD ....................................Chad Collins Hanks HS/Ysleta ISD...................................... Horacio Gomez Veterans Memorial ECHS/Brownsville ISD ........... Elizabeth Stone 15 Shadow Creek HS/Alvin ISD ..........................Joshua Mooney 16 Canyon HS/Canyon ISD ..............................Michael Sheffield

Class 3C Rank 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16

School/ISD ........................................................ Directors Henry MS/Leander ISD ................................ Robert Herrings Howard MS/Mansfield ISD ......................Nathaniel Neugent McCullough JH/Conroe ISD .............Susan Meyer Patterson Rice MS/Plano ISD .............................................. Jason Tucker Oliveira MS/Brownsville ISD ...........................Gaspar Garcia Cockrill MS/McKinney ISD ............................Gary Williams Stiles MS/Leander ISD ....................... Darcy Potter Williams Trautmann MS/United ISD ................................. Jorge Garcia Miller JH/Pearland ISD .................................... Chris Bennett Kennemer MS/Duncanville ISD ......... Luzviminda Pascasio Westover Park JH/Canyon ISD ..................Anthony Gilreath Ridgeview MS/Round Rock ISD......................... Megan Wike Pearland JH West/Pearland ISD ....... Meredith Bates Bishop Lake Highlands JH/Richardson ISD ....... Meghann Zenteno Hamilton MS/Cypress-Fairbanks ISD................ Jamie Cabot Lee MS/San Angelo ISD ..................................... George Clark

Class 3A Rank 1 2 3 4 5 6 7 8 9 10 11 12 13

School/ISD .......................................................Directors Jourdanton HS/Jourdanton ISD ...........Babatunde Onibudo Van Alstyne HS/Van Alstyne ISD ...................... Tim Fulton Yoe HS/Cameron ISD ........................................Craig George Mineola HS/Mineola ISD............................... Chris Brannan Winnsboro HS/Winnsboro ISD .................Spencer Emmert Sonora HS/Sonora ISD .................................... David Andrus Gunter HS/Gunter ISD................................. Thomas Bremer West Rusk HS/West Rusk ISD ........................Grady Haffner Sunnyvale HS/Sunnyvale ISD ...................... Mark Conaway Canadian HS/Canadian ISD .......................Jennifer Webber Shallowater HS/Shallowater ISD ........Donald Summersgill Florence HS/Florence ISD .................................Thomas Pena Randolph HS/Randolph Field ISD....................Hector Perez

Class 2C Rank 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16

School/ISD .......................................................Directors Killian MS/Lewisville ISD ..................................Rob Chilton Arbor Creek MS/Lewisville ISD...................... Rylon Guidry Bayside IS/Clear Creek ISD................................... Kyle Mapp Roma MS/Roma ISD .........................................Corey Graves Dawson MS/Carroll ISD ..................................Rebecca Click Howard JH/Waxahachie ISD ................... Angelyn Seppeler Vela MS/Brownsville ISD ........................... Mario Sarmiento Maus MS/Frisco ISD .....................................Katherine Lewis Central MS/Nederland ISD .....................................Eric Rose Forbes MS/Georgetown ISD ........................ Jackie Fullerton Dueitt MS/Spring ISD.........................Christopher Gonzales Driscoll MS/North East ISD .....................Richard Gonzalez Bonham MS/Amarillo ISD .................................... Mike Ellis Alvin JH/Alvin ISD ............................................Kyle Norman Floresville MS/Floresville ISD ............................ John Curtin Hutchinson MS/Lubbock ISD .......................... Jason Crump

Thanks go to the TMEA members who served as Honor Band Judges and Panel Chairs for ensuring a successful process. To view these and previous yearsâ&#x20AC;&#x2122; results online, go to: www.tmea.org/honorbandhistory 14 Southwestern Musician | September 2017

to view a list of clinics and clinicians who will be presenting during our convention.

Included there, you’ll find clinics offered by our Band Division Featured Clinician Anthony J. Maiello, who will be presenting clinics on score study and instrumental conducting practices and nuances.

Anthony J. Maiello )HDWXUHG &OLQLFLDQ Anthony J. Maiello, Artistic Director and Conductor of American Festival Pops Orchestra, Washington, D.C., makes professional appearances nationally and abroad. He conducted musical activities for the gold medal ceremonies at the 1980 Winter Olympics in New York, served as Musical Director for Music Festivals International, was selected as President of International Association of Jazz Educators/New York State Chapter, and is a guest clinician for Yamaha Corporation and Warner Bros. Publications.

Maiello has served as Associate Conductor of the McLean Orchestra in Virginia, been appointed an Honorary Conductor of the United States Navy Band,

Washington, D.C., and was a participant in the National Conducting Institute with Leonard Slatkin and the National Symphony Orchestra in Washington, D.C., to which he continues as a cover conductor.

Maiello received his bachelor’s and master’s degrees in music education from Ithaca College and has extensive experience teaching in the public schools and at the university level. Currently a professor at George Mason University’s School of Music, Maiello teaches graduate and undergraduate conducting, all levels of aural skills, and jazz theory and arranging.

He founded and conducted the GMU Wind Ensemble and GMU Chamber Orchestra.

He has served as Associate Director of the School of Music, Conductor of the GMU Symphony Orchestra and Symphonic Band, and Director of the GMU Jazz Ensemble.

Maiello is the author of Conducting Nuances and Conducting: A Hands-on Approach. He also coauthored The 21st Century Band Method. He is the founder and Conductor/Artistic Director of the American Festival Pops Orchestra, a professional ensemble in the greater Washington, D.C. metropolitan area dedicated to promoting and performing the finest in American popular music.

Honor Band Congratulations go to the students and directors of the TMEA Honor Bands and finalists in Class 2C, 3C, 3A, and 5A. We look forward to Honor Band performances during our 2018 convention. Look for performance biographies on these wonderful ensembles in future issues of this magazine, and see the adjacent page for a listing of the these finalists and Honor Bands.

TMEA Convention Housing Opens Soon October 2, 6 a.m. CT www.tmea.org/housing

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Southwestern Musician | September 2017 15

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

NORDAN SCHOLARSHIP The NORDAN Scholarship* is an exclusive award, open to entering freshmen vocalists, instrumentalists, and composers of superior talent, who have chosen to major in music.

NORDAN winners receive a four-year, FULL TUITION AWARD. NORDAN Live Auditions are held on January 13, 2018 by special invitation. More information is available online at www.music.tcu.edu.

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

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SCHOOL OF MUSIC

VISION

SKILLS

INCENTIVES

RESOURCES

ACTION PLAN

Navigating complex change to rebuild a music program

BY DOUG FULWOOD, KEVIN WORTHY, AND BRIAN ZATOR

I

n today’s educational climate, it can be quite challenging to advocate for fine arts programs, and that’s made even more difficult when those very programs need repair or reconstruction. A program in decline can quickly be lost, forgotten, or even cut in the name of the bigger educational picture. Fine Arts educators of all ages have accepted positions with the intent of “righting the ship” or “turning things around” only to discover that it would take more than they had to give to move things forward. The question becomes “What else could they have done?”

The answer is that it was never about what they could do individually. A mistake that directors often make is assuming they are on their own to correct the existing problems. Successful programs require contributions from each stakeholder—not simply the educator(s) in charge. These contributions come in many forms from many people. In the following, we examine the model for complex change that Royse City ISD used to repair and rebuild its band program.

While originating in the business world, the model for complex change can help us understand the components that must be in place to effect significant change in our music programs. There are five main components necessary for successful change within any program: Vision, Skills, Incentives, Resources, and Action Plans.

If any of these components aren’t addressed, the overall success will be compromised.

VISION

We examine our vision by questioning the current state of the program and assessing where we would like to see it in the future. It is important to develop long-term goals with stakeholders in mind. A director’s goals may be very different from the principal’s or superintendent’s goals.

Student and parent goals may differ as well. Therefore, it is vital to a program’s success to include these people in developing a vision for the program. Don’t be afraid to define things like desired membership numbers, ideal competition ratings, increased difficulty in repertoire selection and design, and more. Consider where public perception of the program is now versus how the group wants to

be perceived in the future. While it is true that the director and their personality can impact the program, it is important for everyone to understand that vision development should be a team effort.

SKILLS When we consider the skills needed to support a desired organizational change, we need to remember that perspectives on evaluating those skills will vary. A superintendent looks at the strengths and weaknesses of the current staff and makes a skills assessment based on that information. This requires more than just knowing a staff member’s main instrument or ensuring the appropriate credentials. It also involves examining the program’s vision and deciding what skills are needed beyond what the staff possesses.

From the perspective of the university music professor helping future educators develop, the skill set is not just material learned in the classroom. Music students must learn literature, advanced techniques, music history, music technology, and the overall foundation of how to be a great musician. However, there is much more that music education students should learn and develop during their college career.

Developing these four additional aspects of their teaching and performing philosophy will be key to their success when they enter a program, especially if that program needs restoration: • Building relationships: Being purposeful in building strong ties with administrators, fellow directors, parents, students, and community members will pave the way for your program to grow and thrive. People will trust you, work for you, and support you during the highs and lows of the journey forward.

• Creating a vision: Know in advance what you want to see in your program. Success in concerts or competition is the result of having a clearly defined vision and direction. Instilling a love of music in the students, at all levels, and having parental support is a big-picture concept and goal for a program. Work Southwestern Musician | September 2017 17

to visualize the entire scope of the programâ&#x20AC;&#x2122;s future. â&#x20AC;˘ Refining Leadership: Just like technical skills on your instrument, leadership skills take time to develop. These skills can be learned through constant reading, listening, incorporating new ideas, breaking old habits, cultivating new habits, and learning from professional leaders. â&#x20AC;˘ Learning Continuously: The learning process never ends. Whether improving conducting skills, learning about new technology, expanding

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18 Southwestern Musician | September 2017

pedagogical strategies, reading leadership materials, attending conferences, or talking with fellow staff members about their strengths, we should always find ways to improve ourselves.

INCENTIVES Incentives drive us, motivate us to work harder and continually improve, and help us maintain a strong level of pride and community acceptance and appreciation. From a school board member perspective, directors at all levels should be asking â&#x20AC;&#x153;What

have we done as a team?â&#x20AC;? instead of â&#x20AC;&#x153;What do I get for this?â&#x20AC;? The purpose of the school board is to examine the district through a wide-angle lens to see the big picture. They look for what is best for the student body, teachers, staff, and community. Most trustees have no idea about intonation, paradiddles, bowing directions, or shaping a musical phrase. However, most will know what they see and hear about your program through social media, their friends, and students. Program incentives are not monetary or personal rewards. Incentives comes from student success and community pride.

Student success can be measured through increased student participation and higher quality products. Arts programs are often targeted for being too expensive or misaligned with the core classes. If the district notices a large percentage of students participating in these programs while excelling in their other academic courses, it will be difficult for them to argue against the programâ&#x20AC;&#x2122;s value.

Additionally, while earning straight ones at UIL contest is a positive achievement, it isnâ&#x20AC;&#x2122;t a school board memberâ&#x20AC;&#x2122;s primary goal for your programs. Student and ensemble improvement, positive attitudes, and continued involvement in the community are the success stories school board trustees seek.

Community pride is achieved when you share your programsâ&#x20AC;&#x2122; positive stories.

School board members, administrators, and community members donâ&#x20AC;&#x2122;t know what they donâ&#x20AC;&#x2122;t see. Several ways to tell your story include using social media to promote your program, attending a board meeting to perform and tell the board about a big success, asking to perform at the opening or closing convocation event for the district, and saying yes to as many community events as possible.

RESOURCES Identifying resources sounds like a simple idea; many directors jump immediately to school budget and booster account balances and stop there. We must expand our thinking beyond financial resources and include student participation, current inventory, state of equipment, uniforms, furniture, technology, music library, and more. Additionally, the staff members, student leaders, booster parents, private lesson staff (where applicable),

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facilities, administration, and anything else used to run your program should be considered resources.

It’s easy to feel like there isn’t enough to go around. The question we must ask ourselves is what we’re doing with what we’ve been given. When working to repair a program, it is important to be successful with the available resources. From a superintendent and board member perspective, there are multiple programs in need of financial assistance across every school district. When administrators ask why the program deserves additional funding, we need to be able to answer that our program is a good steward of the taxpayer funds and increases student achievement and participation. This is an answer even the most challenging administrator and school board member can appreciate and support.

ACTION PLAN Once we have gone through the first four components of the model for complex change, we must move into the action plan phase. The action plan can include goal setting and tracking, measuring achievement, communication, planning, curriculum, and achieving parent and student buy-in to the program. Action plans don’t need to be complicated or contain hundreds of steps. They need to be a step-bystep way to manage the desired change in your program. Here is a sample action plan to use when arriving at a new program or trying to improve an existing program: 1. Assess your program and identify areas for improvement: Initial evaluation, staff interviews and input, student input, anonymous surveys of parents and students (so they will be completely honest), and identifying any non-negotiable traditions that must remain intact.

2. Decide how you will communicate, and be consistent: Communication with all program participants is a must.

Charms, Remind, Twitter, Facebook, and a program webpage are just a few ways to connect with parents and students.

3. Identify your resources: Determine what you have and don’t have. If finances are a problem, do your best to be successful with what you have.

Remember, success is not always

Complex Change in Action With input from staff, administrators, school board, and community members, we continue to develop the vision for our program in Royse City ISD. Through the creation of our vision, assessment of skills, realization of incentives, and careful management of all resources, we developed an effective action plan for our band program. The following were the major goals we set out to accomplish in the first five years: • Increase the quality and performance level of all individuals and ensembles by working toward superior ratings in UIL competition settings.

• Increase participation in the band program through recruitment and retention efforts to provide for a high school band membership of 200 or more students.

• Increase participation in the 6th–12th grade band program through recruitment and retention efforts to result in membership of 600 or more students.

• Work with the community to schedule public performances for all ensembles.

• Create a music education experience in which students may adequately prepare to pursue music as a degree or simply participate in a college or university ensemble.

Since implementing our action plan four years ago, we have seen the following: • High school and middle school programs have earned their second consecutive UIL sweepstakes awards.

• As we begin this marching season, we have 220 high school band members.

• Overall instrumental music program numbers are projected at 640 students for the 2017–2018 school year.

• Our ensembles are regularly called to perform in the community.

• Multiple graduates are participating in college band programs around the state and a few are pursuing music education degrees. We are still working to see a greater number of band students go on to enjoy music at the collegiate level.

Now that our initial goals are met, we will revisit the process, set new goals, and develop a new action plan for further achievement. defined by earning a rating or winning a contest. Use this information to develop a long-range plan for equipment maintenance and replacement, and share that with your administration.

4. Celebrate your victories: This can be anything from increased student enrollment, to ratings, to performances, to your students being accepted into college on a music scholarship. Use those earlier discussed methods of communication and more to publicize program victories.

5. Measure improvement: Use contest ratings, judges’ comments, ensemble sound improvement, student skills, student enjoyment, college readiness, parent and community pride, etc. Measuring improvement allows us to establish new goals and higher expectations.

Musicians never arrive at a pinnacle of knowledge and stop learning. The same is true of our programs. There is always something more to teach and something more to achieve.

Understanding the process for managing complex change is key to repairing or rebuilding any program. It will take time and far more than just the directors to achieve the desired outcome. With all stakeholders involved, executing this complex change can result in a program that all are proud of and that will continue to further serve the students of your school district.

Doug Fulwood is Director of Bands and Fine Arts, Royse City ISD; Kevin Worthy is Superintendent of Schools, Royse City ISD; Brian Zator is a Royse City ISD School Board Trustee and Director of Percussion, Texas A&M University-Commerce.

6. Repeat the action plan: Improvement should be a continual process.

Southwestern Musician | September 2017 21

2018 TMEA Clinic/Convention FEBRUARY 14–17, 2018 • SAN ANTONIO

THE BEST LEARNING OPPORTUNITIES Our annual convention offers over 300 clinics led by expert music educators. Return home from the TMEA convention equipped with new insight, information, and techniques that will improve your instruction and program administration.

300+ CLINICS

Our 2018 TMEA Featured Clinicians will offer over 30 especially exciting clinics covering a myriad of topics. Learn more about them in this issue’s Vice-Presidents’ columns.

Technology Preconference: On Wednesday, the Technology Institute for Music Educators will host a full day of technology clinics at the convention center. Register for this separate event when you register for our convention!

AFTER FOUR DAYS

Check out a preview of the clinics you can attend at: tmea.org/clinicpreview

IMPORTANT DATES

RETURN HOME A

October 2, 6 a.m. CT Convention Housing Opens December 31 Fax/Mail Registration Ends January 25 Online Early Registration Ends

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ORCHESTRA NOTES

Team teaching Part 1

W

September—Renew your TMEA membership online and preregister for the convention.

September 1—Deadline to submit All-State etude errata to the Orchestra Division Chair.

September 15—HS String Honor Orchestra Part A online entries due.

October 2, 6 a.m. CT—TMEA convention online housing reservation system opens.

October 21–22—First and second round judging of HS String Honor Orchestra.

October 28—Protected date to record for All-State String auditions.

November 1—TMEA scholarship online application deadline.

November 4–5—First and second rounds All-State CD judging.

December 31—TMEA convention mail/fax preregistration deadline.

January 25—TMEA convention online early registration deadline.

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

elcome back to the new school year! I hope that you started the year with a positive perspective and have been working on building productive relationships with your colleagues and students. I would like to encourage you to utilize these healthy relationships by collaborating with your colleagues as much as possible. This collaboration is especially beneficial when there are multiple orchestra directors on the campus.

I believe the traditional roles of head director and assistant director don’t often allow teachers the maximum potential for professional growth. I had the great fortune to teach and collaborate with the Klein HS cluster my first four years of teaching, so I know firsthand the many benefits and growth a teacher can experience. Before working at Klein, I had preconceived notions that in team teaching the head director instructed the advanced groups while the assistant director taught the less-skilled groups. Each director would share the administrative duties and would assist each other in rehearsals. I quickly discovered and was extremely thankful that Klein’s view of team teaching was much more.

One of the most prolific concepts of this team teaching philosophy was that there was no ownership of an ensemble. Keith Markuson and I taught all of the ensembles, sharing the tasks necessary in preparing the orchestras for performances. We would discuss programs and, based on the program, decide who would conduct each piece. We would then formulate weekly lesson plans that included sectionals, playing tests, and rehearsals. In a rehearsal setting, the person conducting the piece would lead the rehearsal, while the other one would play in a section or listen and offer feedback. This was especially beneficial to

As Texas music education continues to improve and grow, team teaching should become more of a priority.

Southwestern Musician | September 2017 25

me as a young teacher, as Keith would offer his expertise when I struggled teaching a concept. Rather than talking about these struggles later, I saw and experienced how there was a better way in the moment. I also appreciated that both teachers were in all of the rehearsals educating the students in a collaborative atmosphere.

One of the paramount concepts we can teach our students is the importance of teamwork and collaboration. By each of us collaborating in the rehearsals, we were able to show the students a prodigious example of teamwork. Of course, there were days when one of us needed to complete administrative duties while the other taught, but those instances were rare.

We also utilized team teaching within the cluster and in the full orchestra setting.

Keith and I would visit a middle school feeder every day to help and build relationships with our future students. Because we had a healthy relationship with the middle school teachers, we were able to institute this same collaborative atmosphere on their campuses. In the full orchestra setting, we collaborated with one of the band directors to decide a program, build rehearsal plans, and work as a team to pre-

26 Southwestern Musician | September 2017

pare the students for performances.

I am proud to say that I continued this same philosophy when I became a head director. The assistant and I work together and team-teach every class. However, it was not an easy transition for me going from an assistant role to head director role, and I learned that even in team teaching, there still needs to be someone who takes the lead.

It has taken several years of trial and error to establish roles and set boundaries.

Even though we team-teach every orchestra, there still has to be one person who is the lead teacher and makes the final decisions for the group. For example, I take the lead role in programming and developing lesson plans with the top two ensembles. I will collaborate with my colleague about programming with the understanding that I will make the final decision. Once the program has been decided, I take the lead on how we prepare the program. This same concept happens with the less advanced groups, but the assistant takes the lead on programming and has the final say on programming and structure. However, we each conduct all of the groups and we have open dialogue to decide the best plan of

action.

The most challenging aspect of team teaching is the necessity of open dialogue and clear communication. In the traditional roles, the head director makes the decisions that affect the entire program and decides the overall philosophy of the program. Assistant directors make decisions unique to the classes they are responsible for and hopefully can offer input on the philosophy of the head director. I quickly learned that with team teaching, every decision involving the program needs to be made with both directors discussing the issue and believing in the decision. There were times I made the mistake of making decisions without communicating them with my colleague, which created frustration and in some cases hurt.

Therefore, I encourage you to have weekly meetings to discuss not only your lesson plans but also decisions and philosophies that impact consensus on what is best for the overall program.

It is my belief that team teaching is the future of music education. As Texas music education continues to improve and grow, team teaching should become more of a priority. This is especially true in string

programs where more assistants will be needed as programs expand. Therefore, I urge head directors to give assistant directors more opportunities to teach and conduct all students in the program.

How can new teachers know how to raise the level of a less advanced group to be a top-performing ensemble if they never get to work with a top-performing group? How can head directors ever expect their top groups to continue to get better when that director doesn’t fully understand what is going on with their younger, foundational groups? How can orchestra directors ever expect the wind and brass sections to perform at their best in the full orchestra setting without the support and help of band directors?

I challenge us all to be open and break away from the tradition of owning a group.

I think we will find the benefits of this concept far outweigh the difficulties we might face. Some teachers might be reluctant to try this concept because they have to relinquish some control and because it requires an exceptional amount of communication.

Next month I will offer some effective ways to communicate and how to approach rehearsals in a team teaching atmosphere.

Stay tuned!

Honor Orchestra Congratulations to the orchestras that submitted entries in the Honor Orchestra Competitions. The level of performance was truly extraordinary and inspirational to the judging panels. We greatly appreciate the judges, playback operators, and hosts who helped with this competition.

Your time and energy is greatly appreciated. I know everyone will be inspired in February when we hear these Honor Orchestras perform.

TMEA Clinic/Convention Update I hope you are making plans to attend our convention February 14–17 in San Antonio. On October 2, our convention housing for members will be available, so be sure you’re ready to make a reservation.

If you haven’t already renewed your membership, you can register when you do that.

Otherwise, you can go to www.tmea.org/ register to complete your convention registration. As you anticipate attending, listening to our Honor Orchestras, and furthering your knowledge as an orchestra teacher, learn more below about our featured clinician, James Mick, who will

Honor Orchestras and Finalists Rank 1 2 3 4 5 6

High School Full

School/ISD ....................................................................................... Directors Plano West SH/Plano ISD ........................................................Ryan Ross, James Hannah Liberty HS/Frisco ISD ...................................................... Julie Blackstock, James Weaver Klein HS/Klein ISD .....................................................Creston Herron, Chris Lambrecht Seven Lakes HS/Katy ISD .....................................................Desiree Overree, John Mays Berkner HS/Richardson ISD ........................................... Craig Needham, Jason Schayot Dulles HS/Fort Bend ISD ........................................................ Michael Isadore, Joe Pruitt

Middle School/Junior High Full

Rank School/ISD......................................................................................... Directors 1 Ereckson MS/Allen ISD ................ Joanna DeVoto, DJ Vaccarezza, Hannah Hong 2 Westbrook IS/Clear Creek ISD..................................... Tom Dinardis, Alisa Garcia, Teri Brockway, Michael Krueger 3 Curtis MS/Allen ISD..................................................... Amanda Su, Monika Bartley 4 Wunderlich IS/Klein ISD .............................. Melanie Thomson, Tommy Patterson 5 Williams MS/Rockwall ISD ............................................Shari Allison, Ryan Straten 6 Rice MS/Plano ISD ............................................................Barbara Fox, Jason Tucker

Rank 1 2 3 4 5 6 7

Middle School/Junior High String

School/ISD......................................................................................... Directors Rice MS/Plano ISD .....................................................................................Barbara Fox Robinson MS/Plano ISD ..................................................................Mary Havenstrite McMeans JH/Katy ISD ......................................................................... Amy Williams Ereckson MS/Allen ISD ............................................Joanna DeVoto, Hannah Hong Beckendorff JH/Katy ISD ............................................................................ Karel Butz Fort Settlement MS/Fort Bend ISD ................................................... Angela Peugnet Fowler MS/Frisco ISD.................................................Karina Lindsey, Marina Glava

The High School String Honor Orchestra finalists and winners will be included in the January issue.

present clinics on energizing your rehearsals, double-bass methods, rehearsal pacing, and vibrato teaching practices.

James Mick Featured Clinician James Mick is an associate professor of music education at Ithaca College in upstate New York. He teaches undergraduate and graduate courses in string pedagogy, orchestral rehearsal techniques, instrumental conducting, psychology of music teaching, and contemporary ensembles in the public schools.

A passionate music educator and ardent supporter of public school music programs, Mick currently serves as president of the New York American String Teachers Association and frequently works with public school students of all ages and abilities. A popular guest conductor, he has

been invited to work with students in a variety of settings ranging from individual school and all-district events to all-county and all-state honor festivals.

An active clinician, Mick has recently presented at many local and national conferences including the American String Teachers Association National Conference, the Midwest International Band & Orchestra Clinic, and various state conferences. He is also a frequent invited guest speaker at a variety of institutions of higher education.

Originally a native of Kansas, Mick has taught elementary and middle school orchestra in Texas and high school orchestra and jazz in New York. Mick holds degrees in music education from Florida State University (PhD), Ithaca College (MM), and Texas Christian University (BME). His research interests include performance perceptions, string instrument vibrato, and music preferences.

Southwestern Musician | September 2017 27

OCU

W ELCOMES Professor Jeffrey Grogan is the new director of orchestral studies at the Wanda L. Bass School of Music at Oklahoma City University, where he will conduct the OCU Symphony Orchestra and serve as artistic director of the Oklahoma Youth Orchestras.

He has inspired young musicians from the podiums of the world’s great performing halls, including the Sydney Opera House, Vienna’s Musikverein, and Carnegie Hall.

His quarter-century of experience includes, most recently, serving as the New Jersey Symphony Orchestra’s education and community engagement conductor and as conductor and artistic director of the Greater Newark Youth Orchestras, the InterSchool Orchestras of New York, and the New Jersey Youth Symphony.

OKLAHOMA CITY UNIVERSITY - BASS SCHOOL OF MUSIC

2017-18 Scholarship Auditions November 3-4 www.okcu.edu/music

Feb. 2-3 March 2-3

and

by Alice Hammel

D

on’t we each want to be the best teacher or director to every student learning music, including those with special needs? But how do we apply strategies that lead to more efficient and effective experiences in music classrooms and ensembles? Without a framework for making adaptations, we can feel as though we’re fishing in the ocean with one small line. By considering four principles, many music educators have found that framework. The principles are size, color, pacing, and modality.

These four principles can be used in every instrumental or choral rehearsal setting.

By preparing in advance, most students can learn along with their peers without disrupting the flow or pace of a rehearsal or class. The principles can also be useful in private or small group settings. The size of notation, the color of noteheads, the amount of information on a score, and the use of more auditory and kinesthetic activities have the potential to transform a rehearsal into a truly inclusive setting for all students.

Using these principles, you may adapt many materials and experiences in music, and their practicality can make them effective for all students, regardless of special learning needs. Here are the four principles and some ideas for their use. I encourage you to expand and elaborate on any of them.

Size • Remove all extraneous material from a page to create a large space for the staff and musical notation.

• Use a font that is simple and has no decorative elements.

• Use a large and bold font. You may also use a card or piece of paper to cover the words or notes not needed at a particular moment.

the room. This creates a larger image for students to be drawn to. For a kinesthetic experience, allow students to stand near the projected image or touch the information as you are teaching. This works well when teaching unfamiliar rhythms or new key signatures. For older students, try placing the entire score on the screen so students can see how their parts relate to one another.

Color • Try placing colored transparencies over music or written pages to assist students in reading. Another option is to cut strips of colored transparencies for students to use as they track their reading.

• Music and text can be highlighted for ease in score and staff reading.

• For students learning to play band and orchestra instruments, specific notes may be highlighted for practice.

• Use a highlighter that has an eraser. That way you can erase highlighted notes or lines and highlight new material, or you can erase highlighting for students who do not need it.

• Notes may be color coded at first to remove some of the steps required for note reading. For example, a beginning flute student may be learning D, C, and B-flat. D may be highlighted in green, C may be highlighted in red, and B-flat may be highlighted in blue.

• As students progress, color coding may be needed less frequently and phased out altogether. Paper hole reinforcers around the keys may be added. The reinforcers can be color coded to match the highlighted notes in case a student needs to remember the color that matches the fingering.

• Project music or other assignments onto a screen or wall in Southwestern Musician | September 2017 29

The most exciting, and possibly best, outcome of utilizing these principles is that teaching and learning can be seen as a dynamic and changing relationship.

Pacing • Part revisions may be necessary. Some students will be unable to read a part as written by the composer. You may have to simplify a part (use the bass line, chord outlines, the first note of each measure, etc.) to meet the musical needs of a student. As the student improves, these modified parts may be adapted.

• A student may need to begin with a blank score. Then, begin to fill in the page as the student is ready to understand the visual material on it.

This is very helpful when the amount of material is increased slowly as the abilities of a student increase. For some students, the ancillary information on a page (title, composer, tempo, and dynamic markings, pictures) can be distracting and frustrating. Placing only the amount of information a student actually needs to perform successfully may be very effective.

• Some students may need to learn less material than others. For example, learning the A section of a piece, practicing the rhythm only rather than the rhythm combined with the melody, or mastering one movement instead of four may be the most beneficial way to begin with a student.

• For students who have sensory issues, partial participation in class or a performance may be necessary. If the pace of a class becomes too fast or the number of sounds, sights, and textures overloads a sensory system, a student may need to participate in music for a shorter amount of time, or learn less material for the concert and perform only the portions of music learned.

• Student assistants (buddies) can be valuable in the pacing process as they can repeat directions, refocus attention, and answer questions a student may have if the pace of a class or rehearsal is too fast. Having several 30 Southwestern Musician | September 2017

buddies take turns working with a student may prevent “buddy burnout.”

• Wait time: some students take as much as 10 times longer than others to process a question or a piece of information.

• When asking a question of a student, wait at least five seconds before reprompting or redirecting.

• Create three-dimensional figures to represent abstract concepts (notes, rhythms, solfège, dynamic and artistic markings). Some students must touch a three-dimensional object to grasp higher-level concepts.

• A picture or written schedule to accompany the aural directions and procedures in class can ease student frustration.

• Students may excel when given the choice of modality for response to a quiz or performance test. They may also perform best when given the choice to respond in two or more ways to a question or task.

• Use raised textured board (perhaps rope on a board to represent a five-line staff) for students to touch as they are introduced to the concept of lines and spaces. Textured boards can be made of any material that raises the staff lines above the page. This adds a kinesthetic element to a primarily visual concept.

The most exciting, and possibly best, outcome of utilizing these principles is that teaching and learning can be seen as a dynamic and changing relationship. As you apply size, color, pacing, and modality, be confident in knowing that when one adaptation is unsuccessful with a student, another adaptation may be the answer you have been seeking. It is also empowering to know that generating independent ideas for adaptations is absolutely recommended! We learn what is by what is not, and we learn what will work for a student by learning what is not effective for that student.

I hope you continue to brainstorm and seek new answers as you work with students who learn differently. Also, please feel free to contact me at any time (hammela@mac.com). Brainstorming is one of my favorite pastimes.

• Use movement activities to accompany some listening experiences.

Many students learn best when their bodies are in motion: tempo, style, dynamics, and genre. These activities are enjoyed by students of all ages and do not need to be considered elementary.

$OLFH +DPPHO LV D OHDGHU LQ WKH ÀHOG RI students with special needs and music.

She is an instructor at James Madison and Virginia Commonwealth Universities and she serves as the Chair of the NAfME Task Force on Students with Special Needs. Hammel is a 2018 TMEA College Division Featured Clinician.

• Have students track measures in their parts or a score (possibly via a projected image) while listening to a recording. We often do this with beginning performance groups and with elementary students; however, this is still a useful activity with more experienced students.

This article is reprinted with permission from Conn-Selmer Division of Education.

It was originally published in TouchPoint: Conn-Selmer Division of Education Newsletter, January 14, 2015, Volume 2, Issue 27.

• Write a question or statement on a piece of paper, or draw a picture of the question or information. This combined with a longer wait time allows students to process information at their own pace rather than trying to keep up with ours.

Modality

• Score study is a complex yet extremely useful skill, and a multimodal approach can be an enriching experience for all students.

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September—Renew your TMEA membership online and preregister for the convention.

October 2, 6 a.m. CT—TMEA convention online housing reservation system opens.

November 1—TMEA scholarship online application deadline.

December 31—TMEA convention mail/fax preregistration deadline.

January 13—Area Vocal and Band auditions.

January 25—TMEA convention online early registration deadline.

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

ry to remember the kind of September when life was slow and oh, so mellow.” As much as I love the Fantasticks, and with all due respect to our friends in musical theater, I have never recalled a September that fit this description. We’re about two to three weeks into the school year. Most of us are still trying to learn our students’ names, help organize and structure the parent organization, collect choir handbook paperwork, plan that first choir social, and kick off our first fundraising event.

Despite all its challenges, September does offer a very special opportunity that occurs only once a year—the first chance to demonstrate what your choir is all about. In these first weeks of school, many of our middle school choral programs produce a sixth-grade demonstration concert. These demonstration concerts at the middle school/junior high level are a wonderful time to showcase how students learn to read music—typically showing the solfège method, demonstrating rhythm patterns, and of course the proper use of tall vowels, breath support, and diction. A fun activity for this audience of family members (and the administrators you invite) would be to give them a simple sightreading lesson. Ask them to apply the same educational principles their students use every day (solfège, rhythm, etc.), and teach them to read and perform the music, thus making a connection with your community and preparing the next generation of singers.

Like our choirs, we only get one chance to make a first impression. You owe

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it to so many to make that first impression the best. Your students take their first impression of you and their experience in your choir classroom back home and report to others about it. Of course, we also form first impressions about our colleagues, students, and our students’ parents.

Speaker and author David Hyner offers a few helpful pointers to remember about making a first impression, not only with your students, but also with your parents and community supporters. He suggests that in our fast-paced world, with easy access to people and information, the first impression that we used to think of as happening in the first 10 minutes now happens in the first 7 seconds of interaction. As you meet with colleagues, parents, and students, remember these common pointers for building a good first impression: • appear and act more confidently in public and at meetings • look people in the eye

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

• smile and be comfortable holding eye contact • be aware of body language (yours and others’)

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34 Southwestern Musician | September 2017

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.

â&#x20AC;˘ be able to master your own body language â&#x20AC;˘ know how to introduce yourself â&#x20AC;˘ give a firm handshake 2018 Clinic/Convention Update I hope you are already looking forward to another amazing convention experience in February. Itâ&#x20AC;&#x2122;s not too early to make plans and preregister for the event! Go to www .tmea.org/register or preregister when you renew your membership. Our convention offers hundreds of hours of professional development opportunities by renowned clinicians from Texas and beyond.

This month, Iâ&#x20AC;&#x2122;m pleased to introduce our Vocal Division Featured Clinician. Be sure you take time to attend his incredible sessions!

Donald Neuen Featured Clinician In 1993, after 12 years on the faculty of the Eastman School of Music, Rochester New York, Donald Neuen accepted the position of Professor of Music/Conducting and

Director of Choral Activities for UCLA. He developed the highly acclaimed UCLA Chorale and a graduate program in choral conducting. He retired from UCLA July 2014.

Neuen is currently the Choral Conductor and Minister of Music with the Shepherdâ&#x20AC;&#x2122;s Grove Church, Orange County, Calif. (formerly the Crystal Cathedral), and the internationally televised Hour of Power, viewed by millions throughout the world each week.

Prior to his position at the Eastman School of Music, Neuen served on the faculties of the University of Wisconsin, the University of Tennessee, and Ball State University and as Director of both Choral and Orchestral Activities for Georgia State University.

Robert Shaw brought Neuen to Atlanta in 1970 as his Assistant Conductor and Director of Choral Activities to create

the Atlanta Symphony Orchestra Chorus.

Shaw, a major force in Neuenâ&#x20AC;&#x2122;s development as a choral conductor, was his teacher, musical advisor, and mentor. Neuen was a member of the Robert Shaw Chorale.

His wide range of choral experience includes teaching all levels of public school music: church, community, symphony, collegiate choruses, chamber music, and opera. Neuen has also been innovative in the areas of jazz and show choirs. He has served as guest conductor, lecturer, and clinician throughout the United States and around the world.

Neuen studied extensively with major renowned choral conductors Robert Shaw and Roger Wagner and with musicologists Julius Herford, Alfred Mann, Karl Geiringer, Lara Hoggard, and Patrick Macy.

His musical editions and compositions are published by Lawson-Gould, Hinshaw Music, Inc., and The Choristers Guild.

TMEA Memberships Expired June 30 Renew Today and Register for the Convention!

www.tmea.org/renew

Discover How to Eliminate the Stress and Panic of Sightreading Contest on YOU and your students NOW. What if you could walk into your EDQG URRP RQ WKH ÂżUVW GD\ DQG ZLWK RQO\ WKH HŕľľRUW RI RSHQLQJ D SDJH \RX could put an end to to the stress and panic that comes around every year after TMEA with sightreading contest?

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Making Connections to What Your Students Know and Love

by Austin Aeschbacher and Stephanie Miller

E

very day we come to work with a purpose and mission of teaching all students through music lessons. We teach kids that life is about working together, overcoming obstacles, and persevering through challenges. Skyview Elementary (Richardson ISD) is a diverse campus with around 800 students in northeast Dallas. Like many urban educators, we work with students who arrive with many complex needs. Approximately 85% of the school is on free or reduced lunch, and the student mobility rate is approximately 32%. Yet these numbers don’t change the fact that regardless of where they go to school each student deserves a high-quality education.

We often face a battle with student engagement in our Title 1 urban school. Students act out and make poor behavior choices not because they are bad students, but because they do not connect with the lesson (they haven’t yet realized their connection).

In polling our school’s students, it came as no surprise to find that almost every student said they had a connection with music.

They had connections through listening, dancing, and reflecting on things as they listen. Music is a big part of their culture. So why should any student not feel a direct connection to what they learn in their music class? We believe this disconnect happens because, while students and educators have the same passion for music, they often vary on their points of view.

Most music educators have a point of view anchored in Western Classical music. We believe in the power of high-quality music education for all that is rooted in helping students develop an appreciation for and understanding of this classical music. Our students often come to us with a different point of view that challenges our perspective. The generational, economic, social, and cultural divide between pop and classical music exists when we take a purist view of classical music. We can shut our students out if we don’t acknowledge the music they know and love. If we persist in teaching only one point of view, we will lose many of our students because we aren’t helping them discover their connection to other musical styles. We must find a solution to bridge the gap between our points of view on music.

Building the Bridge We need to understand that students appreciate what they’ve been exposed to before arriving in our classroom, and for most of our students, that doesn’t include “high” cultural music from the Western Classical tradition. Because of that, they may find classical music distant and irrelevant. Our students know the newest hits, the latest dance moves, and what’s in and out. What they don’t know is the history of who and what paved the way for the artists and performers of today. To bridge the gap between classical Bach and modern Beyoncé, we take a backdoor approach. Rather than bombarding them with classical music and facts in their first few weeks with us, we get them to explore what they already know. Throughout the year, we challenge our students to explore four areas: Appreciation of Music, Appreciation for Singing, Appreciation for Movement, and Appreciation for Instruments.

Appreciation of Music One thing music teachers share with their students is a love of and appreciation for music. How do we connect what our students love about the music of today to what we want them to learn and eventually love about classical music? We meet them in the middle.

We survey our students to see what types of artists and songs they enjoy. From that data, we choose a few artists/songs. We also select some classical composers/songs we can compare and contrast to the artists/songs they chose. Before we introduce them to the classical composers, we have them listen to one of their artist choices. While listening, we analyze the form, the words, and the instrumentation through student-led discussion and interaction with technology platforms such as Google Docs and Flipgrid. We also take the opportunity to create with movement using various manipulative objects such as glow sticks, basketballs, and balloons.

Once they explore and discover more about their artist of choice, we introduce them to a world of artists with whom they have limited experience. We explore composers who were similar to their artists of choice, composers who were censored because they spoke truths, composers who were nonconformists, and composers who Southwestern Musician | September 2017 37

just wrote music for entertainment. One example we used this year was comparing Nicki Minaj and Richard Wagner.

Both are/were controversial artists and the moral value of their music is still debated today. Once students realize that the music of the past and present are so similar, it sparks an interest and curiosity like no other.

Appreciation for Singing We strongly believe that singing is the basis upon which a solid music foundation is built. The first step to getting any student to appreciate singing is to have a genuine relationship with their teacher. Because urban students sometimes lack a meaningful relationship with their teacher, they will often refuse to sing. As music educators, we have to find creative solutions to encourage and develop their singing voice in every class.

One activity that we use to encourage student voice is a healthy competition we call Battle of the Singers. Students are strategically placed in varied ability groupings (strong and developing singers) so that each group is equally balanced when it comes time for the competition. The groups perform casual and formal songs or old and new songs from one genre. During the singing competition, we give feedback to the students on their singing posture, vocal quality, and performance.

We want our students to sing with passion and energy when they perform, so we go over the differences between good and bad singing. When students battle it out in our competition, they sing one popular song from today and one classical song from the past. No matter the song or genre, every time our students come up to

perform, our ultimate goal is for them to have fun when they sing. While we present it as a competition, the goal is never to win; it is always to become a better singer and musician through the lens of a performer.

We want our students to know that performance is a life skill. We want them to have the confidence they need to land their dream career in the future, and we build this skill through singing.

Appreciation for Movement Movement is critical in the music classroom—our students thrive on it. They are experts in all the new dance moves, from the Whip/Nae Nae to the I Carlton Challenge. Often, teachers ignore students’ need to move in deference to a school culture that promotes quiet, controlled classrooms. Yet movement offers our students an effective means of personal expression.

As urban music teachers, we should challenge the paradigm of the controlled and quiet classroom with a classroom environment where students are engaged through movement activities. For example, we use Just Dance resources on YouTube to introduce and teach rhythm concepts to students before we read and play the rhythms with music. Students’ first objective is to have fun while performing the dance. Once they experience the dance, we ask them to observe where they see the new rhythm that we are discussing for the day. We accept all answers, and we ask students to demonstrate the rhythms they see. After students move to the rhythm and have recognized the rhythm with the dance, we allow them to create the rhythm using a variety of manipulative tools or their bodies. For example, students might lie on the floor in groups to create rhythm

Staying Connected Twitter is a great tool to use to connect and learn from other educators in the profession. Weekly twitter chats are a great tool because they offer informal professional development opportunities each week for educators to discuss relevant topics. For a great chat on teaching urban music, follow @MusicChatUrban, and use the #UrbanMusicEd to follow the conversation starting in August and running through the school year. You can also follow the moderators of this chat, @PapaBacher (Austin Aeschbacher), @Stephanierae426 (Stephanie Miller), and @bowiechampmusic (Michal Taylor).

Staying connected with other educators not only provides you with a lifeline for survival in teaching in urban schools, but it also can inspire and uplift you with praise and new ideas. As you discover the joys of teaching music to students in urban schools, don’t make the journey alone. Reach out and find support from others who are facing the same challenges as you each day.

38 Southwestern Musician | September 2017

patterns with their bodies, or they might work independently creating rhythms with glow sticks in the dark. In the end, our goal may have been to teach sixteenth notes, but we approached the lesson from the student’s perspectives. Our students have such a passion for movement, and instead of diminishing that passion we embrace it. All kids can learn, and when we explore learning from their eyes, they love it!

Appreciation for Instruments A lack of musical instrument resources often plagues urban music classrooms.

With so many students enrolled in each music class and not enough instruments to go around, the challenge often becomes how our students can learn to play instruments as part of becoming a well-rounded musician. One way we provide an opportunity for all of our students to develop an appreciation for instruments is by utilizing nontraditional percussion instruments to engage our students.

When students have the opportunity to see that musical instruments exist in their everyday lives at home, they make a powerful connection that music is relevant to them. In our classroom we use recycled materials, ladders, brooms, trashcans, pots and pans, and even glow-in-the-dark basketballs to create musical performances.

Each year our fifth and sixth graders beg us to perform using our basketballs. This instrument performance piece has become so popular that all students choose to audition for a spot in the glow-in-the-dark basketball performing ensemble. Even though we have an auditioned group, we allow all fifth and sixth graders to learn the routine during class. Students use these basketballs to learn to read various rhythmic ostinatos and create their own musical compositions which are incorporated into their performance. By allowing students to have a choice in how to compose their instrumental ensemble as a group, it empowers students to grow their voice in their musical development.

Austin Aeschbacher is an elementary teacher at Northlake Elementary in Richardson ISD and private percussion instructor at Garland HS in Garland ISD. Stephanie Miller is in her 20th year as a music specialist, and she has been at Skyview Elementary in Richardson ISD for 14 years.

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ELEMENTARY NOTES

B Y

C A S E Y

M E D L I N

Setting expectations

L

ast month I wrote about the importance of planning as we looked forward to our first day in the classroom. Well, that time is now in the past! Summer break has ended and we’re back in the swing of

things.

Setting expectations in your classroom is the single most important thing you’ll do all year. Students can’t be expected to know how to behave if they were never given expectations. As monotonous as it can be, it is important to go over your expectations with every class, and you’ll probably have to go over them many times. You may even consider going over the expectations for each new activity.

Eventually, the students will know what to do and how to do it with little to no reminder from you. If you find your students are not meeting your expectations, you know it’s time to reteach. When creating your expectations that guide certain activities, be sure to think through the following: • May students talk? If so, how loud should they be? Should they raise their hand first and be called on or can they share openly?

• May students move around the classroom during instruction? Should they stay in their spot? May they move around as needed to get materials? May they choose where they want to sit in the room? Are there any expectations when it comes to how to make a circle, how to choose a partner, how

Setting expectations in your classroom is the single most important thing you’ll do all year.

40 Southwestern Musician | September 2017

September—Renew your TMEA membership online and preregister for the convention.

October 2, 6 a.m. CT—TMEA convention online housing reservation system opens.

October 15–November 15—Apply online for a TMEA elementary grant.

November 1—TMEA scholarship online application deadline.

December 31—TMEA convention mail/fax preregistration deadline.

January 25—TMEA convention online early registration deadline.

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

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to get to centers, or how to walk to the larger instruments?

• Are there any rules when instruments are being used? Should the instruments be silent while the teacher is talking? May the students hold the instruments while you are talking or should the instruments or mallets be on the floor in front of them?

• How should students ask for a tissue, to go to the bathroom, or to get water?

• What are the expectations when students are performing? May the performers talk while on stage? Is there a specific way you’d like them to stand?

Once you’ve created your expectations, consider how you’ll present them to your classes. I’ve made posters for each type of activity I teach—teacher-led activities, small-group activities, individual activities, playing instruments, dancing, and more.

Name Games Let’s face it, learning each student’s name is difficult. Some of my favorite ways to learn names involve playing games.

Students love the game where everyone sits in a circle and we go around the room and each student says their name and an instrument they’d like to learn to play. The twist is that the instrument name must begin with the same letter as their name.

For example, I am Ms. Medlin and I’d like to learn to play the marimba. If the student gives an incorrect instrument name, ask them to think about another instrument they might like to bring instead. (This gives them a chance to hear other students’ responses and discover the pattern; still, some may need more help getting there.)

To make it more challenging, after the student says their name and instrument, have them say the names and instruments for all the people before them. By the end of the game, the last person has to remember the entire class’s names and instruments (this can also offer an opportunity for the students to collaborate by helping each other remember).

There is also a book by Doug Goodkin called Name Games: Activities for Rhythmic Development that offers several fun and effective ways to start using instruments the very first day! The book has activities

Kodály

for all ages. You’ll find yourself using it every year.

Apply for a TMEA Grant I’m excited to share that from October 15 to November 15, active TMEA members who teach elementary music can apply for up to $800 to purchase music equipment, instruments, instructional technology, or other educational materials. Multiple teachers from a district may apply. Suppliers must be TMEA Sustaining Members. Grants will be approved based on existing budget, number of students served, and other criteria as called for in the online application. Once a grant is approved, the applicant will order the product, and TMEA will pay the supplier of the product directly.

For a list of TMEA member suppliers, go to www.tmea.org/industry/directory.

Go to www.tmea.org/elementarygrant for more information and to apply.

TMEA Clinic/Convention Update Make plans early to attend and get the most out of the TMEA Clinic/Convention in San Antonio February 14–17, 2018. If

Oklahoma City, OK March 22 - 25, 2018

2018 NATIONAL CONFERENCE

“This Land is Your Land: Music Made for You and Me” • Keynote Speaker and Mini-Conference with László Nemes • More than 50 Kodály-inspired sessions • Four world-class National Honor Choirs with:

Women’s

Chamber

Youth

Children’s

ANDREA

RAMSEY

42 Southwestern Musician | September 2017

LILLA

GÁBOR

REGISTRATION OPENS OCT 1 oake.org/ conferences

MALVAR-RUIZ

FERNANDO

BERG

KEN

you don’t yet have approval to attend, share the video at www.tmea.org/attend with your administrator. It communicates the value of our convention specifically for elementary music teachers. You can register at www.tmea.org/register, or if you haven’t renewed yet, you can register at that time at www.tmea.org/renew. The online housing system opens October 2 at 6 a.m. CT. Next month’s column will include a preview of our featured clinicians, Jill Trinka and Artie Almeida.

See you at MATCH! The following is a MATCH conference update from former TMEA Elementary Vice-President Michele Hobizal: Do you dream of amazing your students with your technology prowess? Do you want professional development in technology geared just for elementary music teachers? Do you want to learn tips and tricks to impress your administration and enrich the learning in your classroom?

The Music and Technology Conference of Houston is just for you! MATCH is the creation of a group of Houston elementary music TMEA Region officers and two past TMEA Elementary Vice-Presidents.

We wanted the opportunity to learn new ways to use technology in our classrooms.

We had been to several technology conferences, but none were designed with music in mind, so MATCH was born. Our mission is to provide participants with a variety of ways that technology can be incorporated into an elementary music classroom.

Mark your calendars for Saturday, October 21, to attend a full day of technology designed just for elementary music teachers! Fort Bend ISD’s brand-new school, James C. Neill Elementary, will be the site for this biannual event. Early-

bird registration closes October 1 and is $20 for TMEA members and $30 for nonmembers. After October 1, fees increase to $40/$50. For details and registration, go to matchconferencehouston.wordpress.com.

Our keynote speaker is Marcelo Caplan, who is an Associate Professor in the Science and Mathematics Department of Columbia College Chicago. He is the cofounder of Scientists for Tomorrow, an organization that provides youth and adults the possibility to explore careers with STEM/STEAM subjects.

Our afternoon speaker is Graham

Hepburn from Quaver’s Marvelous World of Music. Hepburn has a passion for igniting a love of music in the hearts and minds of young kids. He has been very busy the last couple of years presenting workshops and sessions around the United States at state MEA conventions and in Britain. He also delivered the keynote speech at the NAfME national conference in the fall of 2016. Hepburn truly is the heart and energetic force behind Quaver’s Marvelous World of Music.

FEBRUARY 14–17, 2018 TMEA.ORG/CONVENTION Southwestern Musician | September 2017 43

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Reflections on the First Year

by Carter Biggers

M

any say that college was the best time of their lives. While that might be true for them, I believe that for music educators the best years are the ones we are living now, the ones that lie ahead, and the ones we remember and learn from. Whether you are a wide-eyed freshman excited about what the next four (or five) years will bring, a first-year music educator starting your career, or a seasoned veteran, I encourage you to consider the insights of these three educators who took a rear-view-mirror look at their first year and the preparations for it: • Aaron Dugger (Pennsylvania State University) is Assistant Director of Bands at Melissa MS, Melissa, Texas.

• Amanda Grubb (University of North Texas) is Assistant Director of Bands at Gunter ISD, Gunter, Texas.

• Delanie Sager (Texas Woman’s University) is the K–12 Music Teacher for Era ISD, Era, Texas.

What part of your undergraduate experience was the most valuable?

Aaron Dugger: The field experience I had as an undergraduate at Penn State helped me most in becoming the teacher I am today—what the university provided and what I did on my own.

The more you get out there, the more comfortable you will be.

Amanda Grubb: My most valuable undergrad experiences were the ones I had outside the classroom. Contacting band directors in the area to help with marching band and beginner classes and gaining new mentors was invaluable. In addition to networking, I received conducting lessons that helped my technical clarity while verbally or nonverbally communicating with students.

I sometimes helped teach “Start up the Band,” a UNT program designed to provide band instruments and instruction for children with financial needs. I also taught private lessons and observed experienced teachers as often as I could.

Delanie Sager: Student teaching was my most valuable

experience. Texas Woman’s University thoroughly prepared me, but actual teaching experience is necessary for synthesizing the information covered in classes. Having a mentor teacher daily offering ideas for improvement and encouragement pushes you to improve quickly. A close second to student teaching is building relationships with other teachers (including other future educators). They become your resource network when you have questions or want to brainstorm ideas.

Is there anything you would have done differently in your preparation to become a music educator?

Dugger: I would have been much more open to new ideas from the beginning. It took me a while to warm up to certain viewpoints that I later adapted in my own teaching.

Grubb: I would have been more involved in my methods classes and taken them later in my coursework, rather than in the first two years. I also believe I would have enjoyed taking percussion ensembles such as steel drum or gamelan to broaden my knowledge of the percussive arts. For performance purposes, attending a wide range of instrument recitals and doctoral dissertation presentations would have been more helpful. Looking back, I would have also spent more time learning about choral teaching strategies and the general atmosphere of a successful choir program as well as learning how to write a curriculum.

Sager: I would have completed my observations at a wider variety of schools. Although I observed on numerous occasions prior to student teaching, almost all were at medium-to-large suburban schools. The school environment affects a student’s educational experience, so I wish I had seen a wider variety of perspectives before I began teaching.

What were you most excited for in your first year?

Most nervous about?

Dugger: I was most excited to finally get the chance to apply everything we had been talking about for years and to shape Southwestern Musician | September 2017 45

Don’t be afraid to take a risk.

You are more prepared than you think, and you will be surprised at what you can do for your students if you just go for it! someone’s life through music education. I was most nervous about messing up. However, that quickly went away when I realized that taking risks can often lead to some of your best teaching moments.

Grubb: I was extremely excited to put my newly learned and cultivated craft to use. Having a group of my own, where I guided students to make musical decisions and to create music, had finally become a reality. Along with students, I was excited to work with the head director and administration as well as learn more about choir. With that said, I was fearful about how my students would react to me, how I would teach them, and how I would manage all this paperwork. I was nervous about talking with parents and getting to know the community, and I feared their reaction to me.

Sager: I was most excited about finally getting to teach! After spending so much time preparing it finally happened. I looked forward to setting up my classroom, creating lessons, and most importantly, getting to interact with and know my students. I was most nervous about not being a good enough teacher for those same students. I did well in school, but I was worried that I might not be able to give my students what they deserve.

What is the greatest thing you learned in your first year of teaching?

Dugger: You can talk a big talk, know all the right things to say, but at the end of the day if you don’t reach at least one student, none of it matters.

Grubb: Mainly, I’ve learned that no matter how much I love music, first I teach students. I then teach music to those students, not the other way around. First and foremost, I am encouraging students to grow into responsible human beings who just happen to love music and continue loving it after they graduate. If these people continue with music after graduating, whether they become a music major or they think about chord structure while driving to work, I consider myself successful.

Sager: I have learned how big an impact you can have on your students. It is easy for me to recall all of the reasons why my own teachers were important to my development, but it is strange to think about having that impact on someone else. Music is lifechanging, and I learned how great a joy it is to help foster a love of music in others.

What is one thing that could have made your first year better?

Dugger: I would have trusted myself more, and I would have known that I had good information to give.

Grubb: I would have planned more in advance, as in during the summer. Curriculum wasn’t something that I thought of, even though my curriculum was based on a successful group in 46 Southwestern Musician | September 2017

the area. I didn’t feel comfortable changing my idea of curriculum to reflect the individuality of each student. Also, I am good at communication for the most part, but I found that with time constraints, I wasn’t fully successful at communicating with the middle school/high school administration or to the parents while on a band trip or when students had to be in rehearsal outside of school. Around the middle of the year, I got more comfortable with communicating and was much more successful after that.

Sager: I would have designated time for reflection and taking notes. Although I constantly self-assessed, I didn’t make notes about what I was doing right and what needed improvement. That would have helped me identify aspects of my teaching that weren’t improving throughout the year. I also wish I had remembered to take notes after major events like concerts and UIL contests. Those would be useful for moving into my second year of teaching.

What advice would you give students just starting their undergraduate music education programs?

Dugger: Be active in your education from the get-go. Find ways to be involved in your school and in the community. Get out there and watch the master teachers at work.

Grubb: You are there for the music and learning how to teach it. Don’t let parties, laziness, or self-doubt get in the way of your continuation of music education. Study hard, get your name out to every band director you know, teach private lessons (if you can), help at schools near you, go to the TMEA convention (or others) to meet people, go to concerts outside your instrument, and become the best musician you can be. I could sum all this up with be productive and proactive.

Sager: Get involved in organizations and seek out other opportunities outside of school. I believe my participation in student organizations, ensembles, and volunteering helped prepare me for teaching in ways that classes couldn’t. Plus, there are many music opportunities outside of school that can be beneficial, such as accompanying, teaching private lessons, and even seeking out places to observe on your own aside from class requirements.

What one piece of advice would you give to graduates who are entering the professional field?

Dugger: Don’t be afraid to take a risk. You are more prepared than you think, and you will be surprised at what you can do for your students if you just go for it!

Grubb: I would encourage people going into the field to continue to learn and grow. You are never done learning! Be humble and never be afraid to ask questions. I have many mentors, and I will never stop asking questions, even if I think I know what I’m doing.

Sager: Always be kind—to your students, your colleagues, and yourself. You are responsible for your classroom’s culture, and your words and actions have a significant impact. Just as you are kind with your students, be kind to yourself. Your first year as a teacher is hard, and you will make mistakes. Take each day as a fresh start and move forward. Before you know it, the year will be over, and you will be looking forward to your second year.

Carter Biggers (alumnus of Texas Tech University and the University of Iowa) is Director of Bands at Texas Woman’s University.

B Y

S I

COLLEGE NOTES

M I L L I C A N

Ask not what TMEA can do for you . . .

S

September—Renew your TMEA membership online and preregister for the convention.

September 1—Online submission of poster session proposals available.

September 1—Online submission of Collegiate Music Educator award nominations available.

October 2, 6 a.m. CT—TMEA convention online housing reservation system opens.

October 13—College Division Fall Conference in Austin.

October 15—Poster session proposal deadline.

November 1—Texas Collegiate Music Educator award nomination deadline.

November 1—TMEA scholarship online application deadline.

December 31—TMEA convention mail/fax preregistration deadline.

January 25—TMEA convention online early registration deadline.

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

ometimes I get into conversations with my fellow faculty members about whether they will join TMEA this year or attend the next convention.

The subtext of this conversation is often “What do I get out of joining TMEA?” While my colleagues are generally polite and genuinely inquisitive about these decisions, I often try to subtly convince them that they not only gain a great deal from membership, but that there is also much that they could contribute to the work that TMEA does to advance teaching and learning of music and fine arts in Texas.

If you haven’t yet renewed your TMEA membership, or if you need help convincing your colleagues to join, here are a few ways you can help improve the state of the arts in Texas as a member of this association: • Sharing your musicianship is a gift that inspires others. You never know how a performance for the thousands of attendees at our annual convention might affect a student, a teacher, or a family member in the audience.

Next spring, submit a proposal to perform at the convention with your large or small ensemble. Performances aren’t limited to large ensembles; we have featured a wide variety of chamber groups in the convention Music Showcase venues each February.

• Submitting your original research makes teaching and learning stronger in Texas. Each year dozens of new research projects come to life through our research poster session and in the pages of the Texas Music Education Research journal. These poster sessions are not just for research geeks, as the projects remain on display for the entire membership throughout the remainder of the convention. Consider submitting a proposal for a poster presentation (see page 52 for details).

There is much that we can contribute to the work that TMEA does to advance teaching and OHDUQLQJ RI PXVLF DQG ÀQH DUWV LQ 7H[DV Southwestern Musician | September 2017 49

• Your teaching inspires and improves the work of others. Your best music education work deserves to be shared with other teachers, so I hope you will consider composing a general interest article for this magazine. We’re always looking for good material, and some of your best lessons and lectures make great magazine articles. And when the time comes next spring, I hope you submit a proposal for a clinic session.

• Your leadership through service is invaluable to TMEA. There are many ways to provide regional and statewide service to the organization. For many of us, service is a vital part of our annual performance evaluation. You might consider serving as a College Region Chair or you might aspire to serve in a leadership role on the TMEA Executive Board as

College Division Vice-President. There are also countless ways to serve at the annual convention as a monitor, guide, or registration assistant or in the College Division office. Signing up to serve is easy at www.tmea.org/ collegevolunteer.

• Membership fees and scholarship donations empower the mission of TMEA. Even though membership dues and Clinic/Convention fees are some of the lowest in the nation, TMEA uses that money to support music teachers and teaching across the state. Some of that money comes back directly to serve the College Division through graduate and undergraduate scholarships and other awards. Last year, for example, TMEA awarded $180,000 in scholarships for music education majors.

• Sharing your concerns with TMEA helps your colleagues. Is something bugging you? Know of a new regulation or mandate that disrupts your teaching? Share your troubles with an organization that can often do something to help. Many times reports from members like you are what help instigate solutions that lead to improvements across the state.

Truth be told, TMEA does a lot for us too. The opportunities to network with K–12 teachers and students through Region meetings, the College Fair and College Night exhibits at the annual Clinic/Convention, and being accessible to the K–12 community all help the visibility of our programs and institutions.

In addition to providing educational programs, grants, and scholarships to support music education in Texas, TMEA

Providing tools for tomorrow’s music business professionals Bachelor of Arts in Music with an emphasis in Music Business THE MUSIC BUSINESS PROGRAM offers an understanding of multiple revenue streams needed to sustain a successful career.

COURSES INCLUDE audio technology, digital music production, artist/ self management, music publishing, marketing and internships.

STUDIO T acts as a microcosm of the industry as students lead an artist management team, music publishing company and its associated record label.

50 Southwestern Musician | September 2017

Learn more (254) 968-9245 | tarleton.edu/musicbusiness

TEXAS LUTHERAN UNIVERSITY SCHOOL OF MUSIC

SCHOLARSHIP AUDITIONS Scholarships are available for both music and non-music majors.

These awards are intended to provide recognition for scholarship and talent in the study of music.

For specific qualifications for each award, visit

www.tlu.edu/music-scholarships.

SCHOOL OF MUSIC DEPARTMENT HEADS

Chad Ibison

Douglas R. Boyer

Elizabeth Lee

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

Asst. Professor, Cello

Beth Bronk

Deborah Mayes

Director of Bands bbronk@tlu.edu

Shaaron Conoly Director of Vocal Studies sconoly@tlu.edu

SCHOLARSHIP AUDITION DATES: Sunday, November 12, 2017 | 1:00 to 3:00 p.m.

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

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

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

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

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

Wei Chen Bruce Lin Asst. Professor, Piano Accompanist

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

Keith Robinson Instructor, Tuba & Music Education

FACULTY Mark Ackerman Instructor, Oboe

Jill Rodriguez Instructor, General Music

Robert Mark Rogers

Adam Bedell Instructor, Percussion

Mary Ellen Cavitt Carol Chambers Instructor, Music Education Asst. Professor, Trumpet

Paula Corley Instructor, Clarinet

Jeanne Gnecco Instructor, Flute

Asst. Professor, Piano

David Milburn

Eliza Jeffords

Joseph Cooper

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

Patricia Lee

Carla McElhaney

Eric Daub

Asst. Professor, Horn

Individual audition dates may be requested if necessary.

Asst. Professor, Guitar

Asst. Professor, Bassoon

Esther M. Sanders Instructor, Violin

Evan Sankey Asst. Professor, Trombone & Euphonium

Eric Siu Asst. Professor, Violin

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

www.tlu.edu/music

actively monitors legislative activities in Austin and effectively lobbies on our behalf throughout the year. During the last legislative session (and special session), TMEA leaders monitored bills and consistently communicated with legislators and their staff members about legislation that could affect arts instruction.

If you haven’t already, I urge you to renew your TMEA membership today.

Continue to support TMEA and all the fine things that you bring to the table to advance music teaching and learning.

2018 Clinic/Convention Update The TMEA Executive Board is finalizing the clinics, concerts, and other events for our annual convention. Starting on October 2, at 6 a.m. CT, you can make a convention hotel reservation at www.tmea.org/housing.

I hope you will find the sessions presented by this year’s College Division Featured Clinicians particularly worthwhile and will take time to highlight their sessions to your students and colleagues.

Alice Hammel Featured Clinician Alice Hammel teaches on the music education faculty at James Madison University and the music theory faculty at Virginia Commonwealth University, teaches online coursework through the University of Arkansas, and maintains an active independent flute studio. Her expertise includes musicianship, pedagogy, and teaching students who learn differently.

At our convention in February, Hammel will present sessions on working with students within the Autism spectrum, differentiated assessment, poverty and music education, and classroom management.

Hammel has put her varied experiences to great use while compiling a large body of scholarly work. She is a coauthor of four texts: Teaching Music to Students with Special Needs: A Label-free Approach, Teaching Music to Students with Autism, Winding It Back: Teaching to Individual Differences in Music Classroom and Ensemble Settings, and Teaching Music to Students with Special Needs: A Practical Resource. Hammel has contributed chapters to several other Oxford University Press resources including Composing Our Future and Exceptional Pedagogy.

52 Southwestern Musician | September 2017

Hammel has presented multiple workshops for arts educators and arts administrators through the John F. Kennedy Center for the Performing Arts association. She serves on the committee for the Kennedy Center National Forum: Examining the Intersection of Arts Education and Special Education, and serves on the planning committee for their annual national conference. Hammel is Chair of the NAfME Task Force on Students with Special Needs. She is on the Editorial Board of the Council for Exceptional Children, Division for the Arts, is a member of the Teacher Education and Editorial Board Committees, and is Member-at-Large for the Organization of American Kodály Educators. In addition, she serves as an expert with the National Association for Music Education’s Solutions Music Group and is a Conn-Selmer Clinician.

Donald A. Hodges Featured Clinician Donald A. Hodges is Professor Emeritus at the University of North Carolina at Greensboro where he served as Covington Distinguished Professor of Music Education and Director of the Music Research Institute from 2003 to 2013.

At our convention Hodges will present sessions on the practical implications of the latest research in neuroscience and music psychology.

His degrees are from the University of Kansas (BME) and the University of Texas (MM and PhD). Previous appointments include the Philadelphia public schools, the University of South Carolina, Southern Methodist University, and UT/ San Antonio.

Hodges is the author of A Concise Survey of Music Philosophy, coauthor of Music in the Human Experience: An Introduction to Music Psychology, contributing editor of the Handbook of Music Psychology and the accompanying multimedia companion, and author of numerous papers in music psychology and music education.

Recent research efforts have included a series of brain imaging studies of pianists, conductors, and singers using PET and fMRI. Hodges has served on the editorial committees of the Journal of Research in Music Education, Music Educators Journal, Reviews of Research in Human Learning and Music, and Update: Applications of

Research in Music Education, and he has presented across the U.S. and the world.

College Division Fall Conference We are making big plans for our annual TMEA College Division Fall Conference to be held on Friday, October 13, at the TMEA headquarters in Austin. We will get a recap of the legislative session and reports about the Higher Education Coordinating Board, Texas Board for Educator Certification, and the Texas Education Agency. We will have breakout sessions to share ideas and issues important to you and your colleagues. If you have recommendations or requests for topics, please let me know now. This is a great way to network with colleagues from public, private, two-year, four-year, large and small institutions as we work through the issues and challenges of our profession.

Lunch is provided, so please email me at si.millican@utsa.edu if you plan to attend (and include any dietary restrictions).

Call for Research Poster Presentation As of September 1, you can submit original research projects to be considered for our annual Research Poster Session during the TMEA Clinic/Convention.

Our updated submission portal at www.tmea.org/papers makes submitting your project even easier than before.

Submit your work before the October 15 deadline. You must be a current TMEA member to submit a proposal, so be sure that you have renewed your membership well before the deadline. If you have any questions, email Amy Simmons at asimmons@austin.utexas.edu.

TMEA Collegiate Music Educator Award As of September 1, you can nominate TMEA College Student members for this program at www.tmea.org/ collegiateaward. Through this program, TMEA college faculty can recognize elite music education graduates. Award recipients represent the finest and most dedicated future music educators across the state. Designation as a Collegiate Music Educator Award recipient is an indication of potential quality for those looking to hire outstanding new teachers.

Complete nomination criteria and materials are located online at www.tmea.org/ collegiateaward. All applications must be received by November 1.

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