February 2024 Southwestern Musician by Texas Music Educators Association

FEBRUARY 2024

We Are Elementary Drums

Visit us At Booth #1540

RBI’s EDucAtIon suPPoRt tEAM

Mary Knysh

Kristin Pugliese

Analisa Byrd

Orff Clinician International Facilitator & Presenter Author

Music Education Specialist National Clinician Inventor of the Note Knacks Method

Music Educator/Inclusion Activist Avid Recorder Player & Expert Inventor of Magnetix

rhythmband.com • 1-800-424-4724 • schoolsales@rhythmband.com • Fort Worth, TX

CONTENTS

VOLUME 92 ■ ISSUE 6 FEBRUARY 2024

FEATURES Sound Ideas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . band b y c h a r l o t t e r o y a l l . . . . . . . . . . . . . . .

21 31 vocal b y r a e g a n g r a n t h a m . . . . . . . . . . . . . . . 4 7 elementary b y m a n j u d u r a i r a j . . . . . . . . . . . . . . . . . 5 4 college b y j u l i e s c o t t . . . . . . . . . . . . . . . . . . . . 6 3 orchestra b y b e t h a n y h a r d w i c k . . . . . . . . . . . . . . .

The Musical Decision Tree . . . . . . . . . . . . . . . . . . . 22

b y c h r i s k a at z a n d a b b i g a i l r a m s e y-j o n e s

This rehearsal approach can help you prioritize refinement opportunities in real time and implement proven strategies for improving student performance.

Intersectionality in the Music Classroom . . . . . . . . . 36

b y n i c o l e r . r o b i n s o n

Insights gained from intersectionality directly contribute to the success and well-being of students, allowing education to be a vehicle not just for musical proficiency but also for fostering respect, celebrating diversity, and building a more compassionate and understanding community.

President Dana Pradervand-Sedatole . . . . . . . . . . . . . 4

Magical Manipulatives for Early Learners . . . . . . 48

Executive Director Robert Floyd . . . . . . . . . . . . . . . . . . 8

by l auren bain

Giving students something to touch and hold while they learn about music allows their imagination to come alive and reignites their learning.

COLUMNS

Band Vice-President Shane Goforth . . . . . . . . . . . . . 16 Orchestra Vice-President Jennifer Martin . . . . . . . . 32 Vocal Vice-President Joshua McGuire . . . . . . . . . . . 42

UPDATES

Elementary Vice-President Christopher Giles . . .56 College Vice-President Matthew McInturf . . . . . . .64

Creating Your Convention CPE Record . . . . . . . . . . . . . . . . . . . . . . . . . .2 TMEA President’s Concert . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7 Electronic Voting for Executive Board Candidates . . . . . . . . . . . . . .13 Thank You, 2023–2024 TMEA Executive Board . . . . . . . . . . . . . . . . .15

ON THE COVER: Sidney Ross, Nathan Thomas, and David Harris, now ninth graders, perform with the Grand Prairie Fine Arts Academy MS Tenor-Bass Singers during the 2023 TMEA Clinic/Convention. Photo by Karen Cross.

Southwestern Musician | February 2024

OFFICIAL PUBLICATION OF TEXAS MUSIC EDUCATORS ASSOCIATION

Editor-in-Chief: Robert Floyd

rfloyd@tmea.org | 512-452-0710, ext. 101

Managing Editor: Karen Cross

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

TMEA Executive Board President: Dana Pradervand-Sedatole, University of Houston

Creating Your Convention CPE Record Almost every clinic and concert qualifies for continuing professional education credit (CPE). CPE credit is available only to TMEA Active members, Honorary Life members, and out-of-state attendees who register and attend the convention. College Student and Retired members will not have access to create CPE records.

president@tmea.org | 713-743-3627 3606 Glenwood Springs Drive, Kingwood, 77345

President-Elect: Jesse Cannon II, Fort Worth ISD

presidentelect@tmea.org | 817-814-2635 1407 I.M. Terrell Circle South, Suite 2203-Room 02, Fort Worth, 76102

Past-President: Michael Stringer, Mesquite ISD

pastpresident@tmea.org | 972-882-7300 3511 Lake Champlain Drive, Arlington, 76016

Band Vice-President: Shane Goforth, North Shore Senior HS bandvp@tmea.org | 713-516-7158 14122 Wadebridge Way, Houston, 77015

Orchestra Vice-President: Jennifer Martin, Fort Worth ISD orchestravp@tmea.org | 817-814-2640 4207 Crossgate Court, Arlington, 76016

Vocal Vice-President: Joshua McGuire, Rock Hill HS vocalvp@tmea.org | 469-219-2300 x 81201 16061 Coit Road, Frisco, 75035

Elementary Vice-President: Christopher Giles, Mireles Elementary elementaryvp@tmea.org | 210-394-0289 12260 Rockwall Mill, San Antonio, 78254

College Vice-President: Matthew McInturf, Sam Houston State University collegevp@tmea.org | 832-515-8724 17 Hornsilver Place, The Woodlands, 77381

TMEA Staff

TMEA provides an online method for creating your CPE record after the convention. Follow these steps so that you will be prepared to return from the convention and complete your record.

1. During the convention: Keep track of all sessions you attend in their entirety. Active membership, convention registration, and attendance is required for CPE credit to be granted.

Executive Director: Robert Floyd | rfloyd@tmea.org Deputy Director: Frank Coachman | fcoachman@tmea.org Administrative Director: Kay Vanlandingham | kvanlandingham@tmea.org Advertising/Exhibits Manager: Zachary Gersch | zgersch@tmea.org Membership Manager: Susan Daugherty | susand@tmea.org Communications Manager: Karen Cross | kcross@tmea.org Digital Communications Specialist: Amanda Pierce | apierce@tmea.org Financial Manager: Cristin Gaffney | cgaffney@tmea.org Information Technologist: Andrew Denman-Tidline | adenman@tmea.org Administrative Assistant: Dana Whitmire | dwhitmire@tmea.org

TMEA Office

2. When you return home: Go to tmea.org/cpe to access your record and claim the sessions you attended and print your CPE form. Submit one to your school district and keep a copy for your records.

www.tmea.org/convention

Mailing Address: P.O. Box 140465, Austin, 78714-0465 Physical Address: 7900 Centre Park Drive, Austin, 78754 Website: www.tmea.org | Phone: 512-452-0710 Office Hours: Monday–Friday, 8:30 a .m .– 4:30 p .m . Southwestern Musician (ISSN 0162-380X) (USPS 508-340) is published monthly except March, June, July, and August by Texas Music Educators Association, 7900 Centre Park Drive, Austin, TX 78754. Subscription rates: One Year – $20; Single copies $3.00. Periodical postage paid at Austin, TX, and additional mailing offices. POSTMASTER: Send address changes to Southwestern Musician, P.O. Box 140465, 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 1941–47 by Dr. Stella Owsley. Incorporated in 1948 as National by Harlan-Bell Publishers, Inc. Published 1947–54 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 Educators Association, whose official publication it has been since 1938. In 1954, the two magazines were merged using the name Southwestern Musician combined with the Texas Music Educator under the 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.

Southwestern Musician | February 2024

TMEA President DANA PRADERVAND-SEDATOLE

The Legacy of a Texas Music Educator Your impact transcends notes and rhythms on a staff; it weaves itself into the very fabric of the students you teach, leaving a lasting mark on their hearts and minds.

have been thinking a lot about the word legacy and what it means in a professional sense. Legacy is the lasting impact our life has on other people. But what does it mean to leave a legacy? Or create a legacy? Or be a part of a legacy life? In our own organization there has been a lot of conversation recently about legacy as it centers around the retirement of our Executive Director, Robert Floyd. Undoubtedly, his work as TMEA’s Executive Director and, before that, as an incredible band director have influenced music educators and music students for over 50 years. His passion, his dedication, and the impact of his life’s work epitomizes the very definition of the word legacy. But can everyone create a legacy or live a legacy life? The answer is unequivocally yes, and, whether you realize it or not, as a music educator you are doing it every day! In the world of music, you stand as a pillar, nurturing talents that echo through generations. Your impact transcends notes and rhythms on a staff; it weaves itself into the very fabric of the students you teach, leaving a lasting mark on their hearts and minds. This kind of legacy is not merely a testament to skillful instruction but also a celebration of dedication, passion, and an unwavering belief in the transformative power of music. This is the lesson that Mr. Floyd’s service has taught us as educators, and this is the lesson we are teaching our students every day. Your legacy as a music educator extends far beyond the confines of your classroom or stage. It resonates in your students, in the minds you inspire, and in the music you cultivate and create. Whether it’s the fourth-grade recorder class, the middle school beginning instrument program, the high school mariachi or jazz ensemble, or the university

Southwestern Musician | February 2024

MARK YOUR CALENDAR check www.tmea .org for updates

February—Renew your membership and register for the convention. February 7–10—TMEA Clinic/Convention in San Antonio. February 8, 8:00 a.m.—TMEA General Session at the convention. February 8, 5:15 p.m.—TMEA Division Business Meetings at the convention. February 9, 5:15 p.m.—TMEA Region Meetings at the convention.

symphony orchestra, your influence manifests in your students who discover a lifelong love of music through the performing arts. You are a mentor and an often-unsung hero, carrying the torch of musical tradition, shaping the future beyond the realm of musical notes. You instill discipline, perseverance, and the pursuit of excellence that becomes a guiding force in the lives of each of your students. Your legacy is built on a foundation of patience and encouragement. It’s in the countless hours spent planning, rehearsing, teaching, guiding, and nurturing all while fostering an appreciation for the art of music. It’s in the unwavering support you offer your students during moments of self-doubt and the gentle nudges toward their self-discovery. But the most extraordinary impact of your legacy as a music educator is its ability to transcend time. The influence you have on your students will continue to reverberate long after they leave your classroom. Former students will become musicians, educators, or even passionate advocates for the arts! What you do every day is by definition creating a legacy. During our upcoming convention we

will honor Robert Floyd and the indelible mark he has made on music education. We will also celebrate the exceptional educators we are and recognize the profound impact that we, as Texas music educators, have on our students and our society. It is through your dedication that creativity is fostered and the lives of each one of your students is enriched. You shape not only musicians but also future leaders, thinkers, and compassionate human beings. That is your legacy as a Texas music educator—it is an enduring testament to the transformative power of music and the profound influence of a passionate teacher!

and regardless of how long you can be in San Antonio, it’s worth it! Learn more and register at www.tmea.org/convention.

A Celebration of Legacy Our convention offers so many opportunities to celebrate the best of music education and your legacy as a music educator. Part of living a life of legacy is continual learning and application of new ideas to better our students. In these best four days of the year, you have hundreds of events to choose from, inspirational performances that will fuel the fire of your passion for teaching, and thousands of music educators and students to interact with and learn from. It’s not too late to register to attend,

President’s Concert I’m thrilled to welcome back the Dallas Winds and Artistic Director Jerry Junkin to our convention as the featured performers of the 2024 TMEA President’s Concert. This concert will be in Lila Cockrell Theatre on Thursday, February 8, at 8 p.m. General admission tickets are $20, and the doors will open at 7 p.m. Dallas Winds is the leading professional civilian wind band in the United States today. With 50 woodwind, brass, and percussion players, the band performs

Make Your App Schedule The app is available to download so you can create your schedule, connect with other attendees, and find exhibitors to visit. Go to www.tmea.org/2024app to learn more about downloading the app and the 2024 event and for helpful guidance to maximize your use of it. The TMEA staff reviewed last year’s convention attendee comments and implemented several improvements.

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Southwestern Musician | February 2024

2024SUMMERCAMPS June 1-9 Texas State International Piano Festival June 9-14 Band Camp June 16-22 String Camp June 23-28 Percussion Camp June 29-30 Alumni Choir June 30-July 3 Choir Camp (large school and small school camps) July 8 Opera Camp July 8-12 International Choral Conducting Symposium

Texas State University, to the extent not in conflict with federal or state law, prohibits discrimination or harassment on the basis of race, color, national origin, age, sex, religion, disability, veterans’ status, sexual orientation, gender identity or expression. Texas State University is a tobacco-free campus.

music.txst.edu

an eclectic blend of musical styles, ranging from Bach to Bernstein and Sousa to Strauss. For this special performance, Dallas Winds welcomes guest artists Boston Brass and saxophone soloist Timothy McAllister. If you already registered to attend the convention, go to www.tmea.org/addon to learn how to add this purchase. Otherwise, if tickets are still available, you can purchase them at the Information Booth inside the registration hall on Wednesday (1–9 p.m.) and Thursday (7:30 a.m.–5 p.m.). Prepurchased tickets will also be at the Information Booth for pickup during those hours. Thank You, Convention Sponsors and Partners Several music industry partners who are exhibiting at our convention have offered extra support to TMEA by becoming convention sponsors and TMEA Partners. I hope you will join me in sharing your thanks with them when you see them in the exhibit hall (they’re noted in the convention printed program, on signage inside the registration hall, and in the app). 0

TMEA President’s Concert

Jerry Junkin

Artistic Director

Boston Brass

Timothy McAllister

THURSDAY, FEBRUARY 8 • 8 P.M. • LILA COCKRELL THEATRE Purchase $20 general admission tickets or pick up prepurchased tickets at the Information Booth during registration hours.

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Author, Dr. Nancy Taylor is a professional musician, educator, and Board-Certified Occupational Therapist. She combines her expertise to provide a practical and scientifically sound guide for teaching injury prevention to musicians. A former member of “The President’s Own” United States Marine Band, Dr. Taylor is an Associate Professor at the University of Texas at El Paso, Principal Trumpet with the El Paso Symphony Orchestra, and an internationally recognized clinician for her work in musician’s wellness. Southwestern Musician | February 2024

TMEA Executive Director ROBERT FLOYD

Our Convention Lifts You Up The intangible benefit of experiencing community, reunion, collaboration, friendship, and family throughout these four days rejuvenates our spirit and carries us through the spring semester.

hrough the years, I have struggled the most not with writing my column but with determining the topics on which to write. As I sought inspiration for this February issue, I picked up a copy of our April 2023 Southwestern Musician and flipped through the pages dedicated to last year’s convention. It did the trick! I was immediately convinced that in this moment we didn’t need another advocacy story, realignment update, or other TMEA news. I became focused on doing what I could to encourage and inspire any members who are still undecided about attending the convention to make that commitment. I also wanted to build excitement for those already registered about what they can expect when they make their journey to San Antonio. In addition to the April 2023 magazine, I was inspired by responses to a recent TMEA social media post asking for your favorite convention experience. They reminded me of the positive impact that attending 26 conventions had throughout my teaching career. I always returned home as a more inspired and motivated educator, eager to try out a new teaching technique I learned in a workshop or to program a piece of music I heard beautifully performed. As a sidebar, I encourage you to follow TMEA on Facebook and Instagram. With over 21,000 and 10,000 followers respectively and growing, each platform offers important and fun information about the convention with more to come between now and opening day. In December I wrote about the amazing offerings that over 300 clinics

Southwestern Musician | February 2024

MARK YOUR CALENDAR check www.tmea .org for updates

back to making music with my students. Thank you for saving me from myself. I was on the verge of submitting my resignation.

represented, in addition to 100 performances at all levels. I also referenced the presentations focused on building a positive culture in your program as that has become as important as pedagogy in the classroom. In addition to those reasons to attend the convention, equally important is the intangible benefit of experiencing community, reunion, collaboration, friendship, and family throughout these four days. Such opportunities rejuvenate our spirit and carry us through the spring semester. Need more reasons to attend? Here are a few comments from our members who were there last year:

• As I am currently fighting stage IV metastatic breast cancer, I enjoyed being around other like-minded individuals to sing, dance, play, and enjoy our time at TMEA. It was wonderful for me, spiritually, to come together for our love of teaching and music and not focus on what I was going through personally.

• The TMEA convention has always had the special power to fill my tank right when I feel like I am running on fumes.

• It gave me motivation and hope to keep sharpening my craft for my students.

• TMEA is medicine for the music educator’s soul. • It is so refreshing to be in a place where music education felt alive and well. • Attending TMEA was like coming home. • Seeing and hearing new music and ideas inspired me to return and get

• TMEA comes at exactly the right time to reenergize my passion and reinvigorate my teaching.

• How many hugs did we see each day? How many hugs did we receive each day? TMEA—It’s priceless! For more good news about attending the convention, I’m pleased to report the number of companies exhibiting and the number of exhibit booths sold have returned to prepandemic numbers, with over 500 companies represented and 1,400 booths reserved. Early registration is ahead of last

year at this time. Compared with last year, the number of clinics has increased by 39, and there are still 36 concerts and 52 music showcases to enjoy. In addition, 130 colleges are exhibiting throughout the convention’s exhibit hall hours or on Friday evening during College Night. Even More Good News Do you want more good news to celebrate while in San Antonio? While it’s not convention-specific, TEA has released the 2022–2023 school year enrollment numbers, and fine arts enrollments in secondary grades 6–12 in music, art, theatre, and dance increased 3.6% (64,705 more students) from the year before. By music subject area, band enrollments are up 7.3%, orchestra 8.7%, and choir 1.2%. Grades 11 and 12 music enrollments still lag as a carryover from the pandemic, but grade 6 enrollments are experiencing the highest growth in several years. That is an encouraging sign. UIL has also reported that participation in Concert and Sightreading Evaluation this past spring was back to prepandemic numbers. This data might not be as encouraging if your program, for whatever reason, is

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Texas Tech University School of Music

WEDNESDAY, FEB 7

TMEA ALL-STATE SECTIONALS

Featured Faculty: Richard Meek, Professor of Bassoon Susetta Rockett, Professor of Oboe Christopher M. Smith, Professor of Horn

THURSDAY, FEB 8

ENGAGING THE SENSES: SENSORY STRATEGIES IN A PK-5 MUSIC ROOM

Time: 11:30 am-12:30 pm Location: Grand Hyatt, 2nd Fl, Lone Star ABC Clinician: Jenny Dees, Senior Lecturer of Music Education In Collaboration: Cynthia Tiongco, OTR, TTU; Hope Bruening, Indian Land Middle School, South Carolina

VOCAL TEACHING WITH STEINWAY SPIRIO Time: 1-2 pm Location: CC 218

Clinician: John Hollins, Associate Director of Choral Studies | Associate Professor of Music In Collaboration: Kennith Freeman and Brian Kuhnert, Wayland Baptist University; Oliver Lucero, Steinway & Sons

TMEA RESEARCH POSTER SESSION Time: 3:30-5 pm Location: CC West Registration

Presenters: Ms. Vivian Yu-hsuan Chang - “Exploring Musical Silence in Unaccompanied Solo Repertoire for Horn: A Performer’s Guide” Dr. Elizabeth Chappell - “I Made it in, but do I Belong? Martina’s Story” Dr. John Parsons - “Attention, Satisfaction and Agency in Beginning Band Students’ Self-Directed Practice” Ms. Dasa Silhova - “A Quantitative Review of Music Business Education in America”

CONDUCT CLEARLY: BUILDING A CONSISTENT GESTURAL VOCABULARY

Time: 2:30-3:30 pm Location: Grand Hyatt, 2nd Fl, Lone Star ABC Clinician: Alan Zabriskie, Director of Choral Studies | Associate Professor of Music

FRIDAY, FEB 9

DAVID DEES SAXOPHONE QUARTET Time: 9:30-10:30 am Location: CC North Lobby Music Showcase TOWARD THE FORMALIZATION OF MARIACHI STUDIES IN HIGHER EDUCATION Time: 10-11 am Location: CC 205 Clinician: Lauryn Salazar, Associate Professor of Musicology In Collaboration: Adolfo Estrada, Univ of New Mexico; Jesus Guzman, Mariachi Los Camperos; Mariachi Los Matadores de Texas Tech (Demonstration Group)

BUILDING COMMUNITY THROUGH EFFECTIVE LEADERSHIP Time: 10-11 am Location: CC 008

Clinician: Alan Zabriskie, Director of Choral Studies | Associate Professor of Music

CRACKING THE CODE: VIOLIN AND VIOLA DOUBLE STOPS Time: 11:30 am - 12:30 pm Location: CC 225

Clinician: Philippe Chao, Assistant Professor of Viola In Collaboration: Gwendolyn Matias-Ryan, DMA Student TTU; Bruno Silva, MM Student TTU

VOCAL TEACHING WITH STEINWAY SPIRIO Time: 1-2 pm Location: CC 218

ttu.e du/Mu sic | schoo lof mus ic @ttu. e d u | 806. 742. 2274

TMEA

THE REbL TROMBONE QUARTET Time: 2-2:30 pm Location: CC North Lobby Music Showcase TEXAS TECH UNIVERSITY ALUMNI REUNION Time: 9:30-11:30 pm Location: Marriott Rivercenter Salon I

SATURDAY, FEB 10

sAge LOW BRASS QUARTET Time: 9-9:30 am Location: CC North Lobby Music Showcase WORLD MUSIC PEDAGOGY: SONGS AND DANCES OF UGANDA Time: 11 am-12 pm Location: CC 210

Clinician: Jacqueline Henninger, Associate Professor of Music Education In Collaboration: George Kitaka, PhD Student, TTU; Ristella Nyamwija, PhD Student, TTU

SING IT IN YOUR HEAD: FROM LISTENING TO INNER HEARING Time: 12:30-1:30 pm Location: Grand Hyatt, 2nd Fl, Lone Star ABC Clinician: Music Education

NAFME-TEXAS ANNUAL MEMBERSHIP MEETING Time: 11 am-12 pm Location: Grand Hyatt 4th Floor, Crockett AB Co-Clinicians: Jacqueline Henninger, Associate Professor of Music Education, Immediate Past President; John Parsons, Assistant Professor of Music Education, Member-at-Large; Shauna Pickens, Assistant Professor of Music Education, Collegiate Chair

AUDITION DATES

Saturday, Feb. 17, 2024 Saturday, Mar. 2, 2024 Recorded and remote auditions are available for select instruments.

not experiencing growth or is even declining. Regardless, statewide trends remain important. A healthy growth overall for fine arts is a crucial indicator that can help us gain support at the state level. Want another encouraging sign that the future looks brighter for our profession? At our January meeting, the TMEA Executive Board awarded $200,000 in scholarships to deserving future music educators, a program that began more than 20 years ago. In 2022, 75 of the initial 132 high school student applicants completed the application to be considered. Last fall, 255 students began the application process and 137 completed it. Such interest represents a 93% increase in those who minimally began the process with 83% more applicants completing it over last year. Hopefully, these numbers reflect an increasing interest across the state by our best and brightest students considering music teaching as a career. Even Our Challenges Have Silver Linings While I love sharing good news, I also realize you face daily challenges with issues over which you have no control, and that can make it difficult to think on the bright side. In general, morale for those in public education has been dampened by our state leadership refusing to recognize the importance of our public school system and the need to fund it at a level to allow us to best serve the students we are responsible for educating. Unfortunately, there seems to be no immediate hope that the funding dilemma will be positively resolved anytime soon. District administrators are speaking openly about the necessity to cut extracurricular and even curricular programs. Clearly, this could impact you and your program in numerous ways, from dollars supporting marching band to, more critically, staffing and budget cuts impacting your classroom. That said, we can be encouraged by some aspects of the 88th regular and four special sessions. First, no legislation passed and was signed into law that directly impacted fine arts in a negative way. The even better news was that every iteration of a public school funding bill filed in the House and voted out of committee included a direct allotment for fine arts funding. I cannot adequately express the emotional impact of sitting in a House Public Education Committee meeting

Electronic Voting for Executive Board Candidates Voting for TMEA President-Elect and Vice-Presidents will be conducted electronically if multiple candidates are nominated. For offices with a single candidate, the election will be declared for that nominee by acclamation. Eligible members are not required to attend the convention to vote. In 2024, the division Vice-Presidents being elected are Band and College.

Executive Board Candidates

Go to www.tmea.org/candidates for candidate statements and endorsement videos.

Eligibility and Voting

Go to www.tmea.org/election for eligibility details and important steps to take immediately to ensure you can vote.

when the author of HB 100, the first major school finance bill of the session, ended laying out his bill by stating, “There is money in this bill for fine arts.” This was historic! When the bill was up for a final vote in the House, a highly respected member stepped to the microphone during the last successful push for its passage, and said, “I am voting for this bill because there is money in it for fine arts.” Even in the fourth special session, there was a desperate effort by the House to pass a public school finance bill that included vouchers. However, because education savings accounts were removed from the bill by amendment on the floor, the author pulled the bill down, likely assuming the governor wouldn’t sign it without a vouchers component. Even in the eleventh hour of the debate over that bill (HB 1), fine arts funding was still included. While we didn’t succeed in having legislation pass that included a fine arts allotment, to get such language included in several filed House bills was beyond our expectations in this initial effort. It is a significant step forward, and the Texas Arts Education Campaign, of which TMEA is a partner, will use this as a springboard to pursue an allotment again in 2025. Throughout history, we have overcome all kinds of challenges to keep the arts alive in our schools, and we will continue to do so. There is only one option for us to choose—to keep our heads down and teach our students. Our students did not create

the challenges we face, and neither did you. These become times when our passion for sharing music with our students must sustain us. So, I hope to see you in San Antonio in a short few days, where you can take advantage of the many opportunities the convention will offer you to rejuvenate your spirit and rekindle the passion you have for sharing your love of music with your students. Be prepared to be lifted up! 0

Southwestern Musician | February 2024 13

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All-State Choir Camp Small School: June 24-27, 2024 Large School: June 17, 18, 20-21, 2024

Viking Classical Guitar Camp June 4-6, 2024

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DELMAR.EDU

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2023–2024 TMEA EXECUTIVE BOARD TMEA Executive Board members devote numerous hours to leading our association and ensuring exceptional music education opportunities for every student. Their influence is evident in the amazing clinic programming and captivating concert performances that make our convention truly extraordinary. However, just as TMEA is much more than one convention, so is their service. We invite you to join us in honoring the past officers who have played a pivotal role in shaping our association, as well as recognizing the current Board members who continue to uphold their legacy of leadership.

President

Dana Pradervand-Sedatole

Past-President Michael Stringer

President-Elect Jesse Cannon II

Division Vice-Presidents

Band Shane Goforth

Orchestra Jennifer Martin

Vocal Joshua McGuire

Elementary Christopher Giles

College Matthew McInturf

Thank You for Your Service! Southwestern Musician | February 2024 15

TMEA Band Vice-President SHANE GOFORTH

Music Educators Go Above & Beyond How blessed we are to work in a field where we have the opportunity to have a significant positive impact on students’ lives and to do it with people who understand and share our passion.

s I continue to pour over the final preparations for this year’s convention, I am continually awestruck by the level of commitment and the quality of work demonstrated by the countless number of people who make essential contributions to our annual event. The quality and breadth of our convention is a reflection of our incredible members’ willingness to go above and beyond for their students and colleagues—from Region officers and audition judges to convention registration volunteers and All-State ensemble organizers. I hope this year, while you are taking in one of the many world-class clinics or enjoying an All-State Band performance, you will pause and consider the many people and thousands of hours that were involved in making that experience possible. Over my two years in office I have sent countless emails and texts and made hundreds of phone calls asking my fellow directors to serve in a myriad of capacities. I have been told no so few times that I struggle to remember what the word means. Colleague after colleague, with intense professional schedules and busy home lives, agree to sacrifice a little more of their time so that the band students of Texas and their directors might have an experience of the highest quality and equity. How blessed we are to work in a field where we have the opportunity to have a significant positive impact on students’ lives and to do it with people who understand and share our passion. I give thanks every day to have been given the opportunity to pursue my life’s work and to do so with such intelligent, talented, compassionate, and committed music

16 Southwestern Musician | February 2024

MARK YOUR CALENDAR check www.tmea .org for updates

February—Renew your membership and register for the convention. February 1—Honor Band online entry opens. February 7–10—TMEA Clinic/Convention in San Antonio. February 8, 8:00 a.m.—TMEA General Session at the convention. February 8, 5:15 p.m.—Band Division Business Meeting at the convention. February 9, 5:15 p.m.—TMEA Region Meetings at the convention. March 1—Texas Music Scholar online application opens.

educators along the way. I would like to offer special thanks to a particularly special group of people—our Region Band Chairs. Every element of our organization is incredibly important to our past, current, and future success, and while I hesitate to recognize any individual or group, our Region Chairs serve as the core of our division, and I am so very thankful for them. Our Region Chairs prepare budgets and manage Region bank accounts. They plan and run our Region Meetings and find successful solutions to the challenges presented therein. They prepare multiple auditions throughout the year and are responsible for the setup, online software utilization, preparation of the panels, and running the contest in a manner that is congruent with the many policies and procedures laid out for them. The list of Region Chair responsibilities could go on, and the truly incredible thing is the quality with which they carry them all out. They work diligently, often without recognition, carrying out so much of the business that makes TMEA a success while receiving regular criticism and suggestions about how they might do their job better. So, in my final column as State Band Chair, I wanted to take time to offer thanks to our Region Chairs. They serve us all so well and I hope that through some miraculous process this short paragraph can transform itself into something that might represent the gratitude I have for them and their incredible work and service. As a member of TMEA and specifically the Band Division, I would be remiss if I didn’t take every opportunity to recognize and thank Executive Director Robert Floyd, who first joined our association as a Band Division member in 1967. I want to express my gratitude first for the example he set as musician, band director, and TMEA volunteer and elected officer, and second for the incredible leadership he has provided TMEA for the past 31 years and under which we have all had the opportunity to flourish and grow. When you see

Exhibit Hall Hours Thurs: 9 a.m. – 5 p.m. Fri: 9 a.m. – 6 p.m. Sat: 9 a.m. – 1 p.m.

our friend Bob around the convention center this February, I hope you will join me in extending a hand of thanks to a man who has dedicated his life to serving the students and music educators of Texas. He is an absolute treasure and the legacy of his leadership and service will be felt for many years to come. Convention Update If you haven’t yet, be sure to register for the convention before you arrive so that your badge pickup process is as efficient as

possible. You can still register online. Go to www.tmea.org/register for details. As you prepare to make your annual trip to San Antonio, I encourage you to take a moment and download the TMEA Clinic/Convention app from your app store and open the 2024 event. The clinic and concert information it provides is indispensable, and when combined with the personal calendar, it can really help you get the most out of your convention experience. You’ll also receive a printed program at the convention that

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FLO O T FIRE

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S U MME R C AMP S A u s t i n , B o s t o n , D a l l a s , a nd H o u s to n CO MPE T IT IONS V i r t u a l S o l o i s t Co mpetitio n Cl a i r e J o h n s o n F l u t e S o l o i s t Co mpetitio n A DUL T C L ASSE S Mu s i c E d u c a t o r s ’ Wo r k s h o p F l o o t I n fer n o COME S E E U S AT T ME A! ! V i s i t o u r b o o th # 114 8 S e e o u r clin ic F l u t e T o n e a n d V i b ra t o Demy s tified T h u rs , 1 - 2 p m, CC H e mi s f a i r Ba llr o o m 3

contains the schedule, a composite listing of repertoire scheduled for our convention concerts, vital updates from the music industry and higher education institutions that advertise with us, and much more. However you plan for your convention experience, I look forward to seeing you in San Antonio. Band Division Business Meeting and Region Meetings Be sure to include our Division Business Meeting (Thursday at 5:15 p.m.) and your Region meeting (Friday, 5:15 p.m.) in your personal schedule to ensure you attend. As a division, we meet together only once annually, so this is a great opportunity to get updated, recognize accomplished colleagues, and make new acquaintances. You can find the location of your Region meeting in the Region lookup section of the app (icon on the homepage). Attend the President’s Concert Be sure you purchase tickets to the Thursday 8 p.m. President’s Concert featuring the Dallas Winds under the artistic direction of Jerry Junkin. This incredible

concert will include guest performances by saxophone soloist Timothy McAllister and Boston Brass. Tickets are $20. If you haven’t purchased them online, stop by the Information Booth in

Convention Registration during registration hours to purchase (this is also the location for prepurchased ticket pickup). I look forward to seeing you in just a few short days in San Antonio! 0

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SOUND IDEAS BAND: Developing Musicianship in Section Rehearsals by charlotte royall

ithout exception, section rehearsals are important for every large performing ensemble. Developing cohesive sections, fostering team building, and encouraging students from the beginning positively affects the ensemble. With a few exceptions, I believe sectionals should be taught by the director of each ensemble. There is nothing more valuable than knowing the abilities and personalities of each performing member in every section. If we utilize sectionals only for the top performing ensemble, the remaining students’ progress will be delayed. To ensure maximum participation, start early in the year scheduling section rehearsals to help parents as they schedule for the school year. Supplemental fundamentals are excellent tools for analysis, evaluation, and improvement for the individual performer. They can be utilized to refine articulation, tone quality, style, and interpretation as well as extend range, develop consistent voicing, and improve technique—skills that are not always advanced through the music being rehearsed at the time. Taking the time to establish and improve unique skills should afford students more self-awareness and self-confidence in individual technical performance and interpretation. Generally, each section rehearsal includes four areas of performance and evaluation: (1) tone refinement, (2) technique and articulation, (3) listening and ensemble skills, and (4) music interpretation and performance. Each week give short assignments in each of these areas and assess their progress—feedback is vital. Tone Refinement Performing with a beautiful tone in the center register of the instrument sets a baseline when extending range and maintaining tone quality. Especially with brass players, extending range before players are physically ready can result in problematic compensation that is difficult to resolve years later. Establish a routine of tone builders and flexibility exercises as a daily reference. Long tones serve several purposes in establishing and evaluating tone, consistency, and pitch in varying ranges and dynamic levels. They also help with establishing and maintaining correct embouchure and muscle memory. Use tone builders that are unique to the instrument. Performing only full-ensemble long-tone exercises (e.g., chromatic descending interval exercise) generally keeps the tone in the middle register of most instruments. Extending range and understanding consistency in voicing, aperture, air direction, and energy should be emphasized and analyzed. Ensure there is a model for the tone you want students to achieve. Flexibility is also part of the tone refinement process. Ascending and descending long tones (scale or chromatic intervals), octaves, register slurs (clarinet), lip slurs (brass), mouthpiece vibration

exercises (brass), harmonics (flute), and flow studies are excellent tools. Continue to stress voicing, tongue placement, embouchure, posture, breathing, and the use of air and its effect on the tone. Tapered releases should be taught in sectionals and should be checked with a tuner, especially with flute. Remind flutists that the aperture changes and the air does not slow. Vibrato should also be evaluated in sectionals. Measured pulse exercises are a great tool for varying strength and speed of vibrato. Technique and Articulation Weekly scale and technique assignments (middle and high school) may include scales, thirds, Clarke studies, and arpeggios with varied articulations. Extended scales above and below the original range, chromatics in small segments, and short excerpts from technical etudes are also excellent exercises. Set realistic tempos and have students perform with a metronome. Work to improve articulation in fundamentals, reminding performers to maintain correct/consistent tongue placement and corners. As part of technique, trill and alternate fingering charts should be introduced and made available to the students. Listening and Ensemble Skills Utilizing tuners is helpful, but developing listening skills is most important. Pitch-matching should be part of the routine, engaging performers in partner-matching and overlapping and stacking of unisons and intervals. Providing students tuning tendency charts is helpful, knowing that as tone and tuning improves, the chart may need to be updated. Chorales and harmonized music in sectionals provide excellent opportunities for listening and learning to align and balance. Music Interpretation and Performance Reinforcing elements of musicality through fundamentals develops musicianship. Teach and evaluate dynamic contrast, staggered breathing techniques, internal pickups, rubato, and stress– release. Students must understand all basic styles and articulations and be able to integrate them into the music. They should also be asked to model for each other. Great analysis can come from their fellow performers. Learning and performing full-band literature is important but it should not always dominate the section rehearsal. By focusing on multiple methods that will help the individual and section develop, we will enhance the performance of the full ensemble. Charlotte Royall is retired Director of Bands at The Woodlands College Park HS (Conroe ISD).

Southwestern Musician | February 2024 21

THE MUSICAL DECISION TREE

BY CHRIS KAATZ & ABBIGAIL RAMSEY-JONES

ehearsals provide students with opportunities for artistic growth and discovery, and the more effective our rehearsal strategies are, the greater our students’ learning. While that’s an easy concept to understand, facilitating effective rehearsals is not at all an easy task. Even with thorough knowledge of the music, a well-crafted plan, and a detailed understanding of students’ abilities, we must adapt to the specific conditions of each rehearsal as they occur. The Musical Decision Tree is a rehearsal approach that can help educators of all levels prioritize refinement opportunities in real time and implement proven strategies for improving student performance. Through observing master teachers and considering our own experiences, we developed this field-tested approach, which we have found to be flexible, adaptable, and engaging. It is not intended to be an exclusive approach; it should be utilized in conjunction with other rehearsal techniques for maximum efficacy. From the high school orchestra to beginner saxophone lessons to college-level chamber groups, this approach is highly adaptable and can be used to yield meaningful student growth.

OVERVIEW OF THE PROCESS

This rehearsal approach utilizes a decision tree flowchart as its framework. The process centers on the director listening to the students’ performance, analyzing what is most obstructing their musical expression, diagnosing the aspect of technique at the root of obstruction, and employing rehearsal strategies that target the specific issue. This process can be applied to rehearsing any musical passage—a section of large ensemble repertoire, a solo etude, or a technical exercise. This approach depends on the targeted musical passage being selected prior to the start of the rehearsal. While this strategy can be a valuable resource in rehearsal preparation, it should not be the primary tool in planning an effective rehearsal because it is response-based, relying heavily on real-time analysis of student performance. The following explanation operates under the assumption that the passage of music being rehearsed has been chosen beforehand.

22 Southwestern Musician | February 2024

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Go to www.tmea.org/decisiontree or scan this code to download the decision tree and other resources.

STEP 3: DIAGNOSE Upon identifying the musical priority most obstructing expression, diagnose the aspect of technique causing the obstruction. Below is a list of fundamental aspects of wind instrument technique: • Concept: understanding of the musical component

STEP 1: LISTEN

Begin by listening to the ensemble play the selected passage. While listening, identify the portion of the music most in need of refinement. If stuck, ask yourself, “If the performance were in 10 minutes, what aspect of the music must be refined to allow the ensemble to be maximally expressive?” For this process to be efficient and effective, you will need thorough knowledge of the score, a specific, well-informed artistic point of view, and unbiased ears. It’s important that you focus on what you actually hear, not what you expect to hear.

STEP 2: ANALYZE During and after listening, analyze what musical priority is most obstructing

expression. You can start by considering this list of musical priorities: • Dynamics: volume • Phrasing: artistic intent, shaping of line, etc. • Pitch: correct pitch (B-natural vs. B-flat) and intonation • Rhythm: correct rhythm, steady, unified ensemble pulse, and vertical alignment • Style: note shape and length • Tone: characteristic individual sound and ensemble balance and blend While we aim for this list to be comprehensive, you might need to adapt it, and you should arrange your list in your musical priority order to focus your analysis.

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• Air stream: manner in which the air stream is utilized (summarized by the three F’s: full, fast, focused) • Vowel shape: shape of the oral cavity, including placement of the teeth and tongue (summarized by the three T’s: teeth, tongue, tall) • Embouchure: instrument-specific shape of face muscles and the way they contact the mouthpiece/reed • Body: movement of the hands and fingers, as well as overall posture

STEP 4: REFINE Upon identifying the musical priority most obstructing expression and diagnosing the aspect of technique at the root of the problem, student performance can be

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effectively refined. Ideally, the strategies used for refinement will isolate the specific aspect of technique hindering expression. For example, if a student is struggling with their concept of a written rhythm, they could count the subdivision while clapping the notated rhythm. This isolates their conceptual understanding of the rhythm by removing all other performance aspects, thus yielding faster improvement. Additionally, it is best to creatively incorporate elements of play into the rehearsal strategy. The late child psychologist and TCU professor Karen Purvis observed that

while learning a new skill usually requires hundreds of repetitions, when those repetitions are accompanied by joy and laughter, the number of repetitions required for that learning plummets.1 Not only does play make the refinement activity more enjoyable, it can significantly increase the rate of learning.

EXAMPLE APPLICATIONS

The following examples are provided to demonstrate hypothetical applications of this approach. While these examples are from wind ensemble settings, they can

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easily be adapted to any musical medium. Example #1 Ms. Mecready is rehearsing her high school band playing a passage of florid woodwind lines set over a brass chorale. Step 1—Listen: She listens to the ensemble’s performance and hears that the brass members are playing at the indicated tempo, but the woodwinds are finishing the phrase later than the brass. Step 2—Analyze: Based upon her listening, she determines the musical priority that is most inhibiting the students’ expression is rhythm. Step 3—Diagnose: Based on her score study, she knows the woodwind lines are slurred and contain many chromatic segments. She determines that the students are likely not moving their fingers accurately and concludes that the aspect of technique that is most likely causing the rhythmic issues is the students’ body mechanics. Step 4—Refine: Ms. Mecready employs the following strategies to help address the students’ technical problems of body mechanics causing expressive issues with their rhythm: • The students “play” with fingers only, listening to key/valve movement for vertical alignment.

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• Upon identifying a particularly difficult measure, students loop the passage repeatedly, starting slowly and gradually speeding up. • The students play slowly, without the aid of a conductor or metronome, listening for evenness of rhythm. They gradually speed up the passage until reaching the goal tempo. Example #2 Mr. Jarvis is rehearsing his beginner band, having introduced the concept of embouchure two weeks prior. Step 1—Listen: Mr. Jarvis hears the ensemble playing with a generally unrefined and forced sound. Step 2—Analyze: Based upon his listening, he determines that the musical priority that is most inhibiting the students’ expression is tone. Step 3—Diagnose: Based on his knowledge of correct embouchure formation for various wind instruments, Mr. Jarvis determines the students are likely collapsing their oral cavities and adding

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unnecessary tension in their embouchures. He concludes that the aspects of technique most likely causing the tone issues are the students’ vowel shapes and embouchure formation. Step 4—Refine: Mr. Jarvis employs the following strategies to help address the technical problems with vowel shape and embouchure causing expressive issues with their tone: Vowel Shape: • The students sing their parts on pitch on an oh vowel shape. • The students yawn to feel the way their soft palate and throat muscles relax and open and Mr. Jarvis tells them to emulate this sensation while playing. • The students place their pinky fingers between their upper and lower molars to kinesthetically feel the amount of oral cavity space necessary for proper playing. Embouchure: • The students form their embouchure without their mouthpiece/reed several times, focusing on proper muscular shape and engagement. • The students check their individual mouthpiece placement and angle with their neighbor and Mr. Jarvis. • The students are reminded to have a “squishy firm” center to their embouchure, ensuring the correct balance of firm and relaxed muscular engagement.

APPLYING THE MUSICAL DECISION TREE

We have experienced success by employing the Musical Decision Tree as an effective rehearsal approach for navigating the challenge of providing effective and efficient student growth. This strategy is akin to the method used by jazz musicians to navigate chord changes during

an improvised solo. Like an improviser’s knowledge of chord changes and practiced musical patterns, the framework outlined here allows for successful response to the specific student refinement opportunities presented in each rehearsal. When there are numerous issues at hand, this mode of thinking can help prioritize the order and way refinements need to be applied. While it may prove challenging at first, focused application of this skill will eventually allow the process of “listen, analyze, diagnose, and refine” to become automatic. Frequent use of this approach will likely enhance your ability to listen effectively by regularly analyzing music in real time. It may also expand your understanding of pedagogy as you work to accurately diagnose technical issues that obstruct musical expression. Additionally, while not all attempted strategies may work, in utilizing this improvisatory technique, rehearsal becomes more like a game, creating a more engaging environment for students and teachers alike. Enhanced listening, deeper pedagogical knowledge, a larger repertoire of rehearsal strategies, and a more enjoyable music-making experience are all potential benefits of the Musical Decision 0 Tree approach. Dr. Chris Kaatz is the Assistant Director of Bands at Stephen F. Austin State University. Abbigail Ramsey-Jones is an Assistant Band Director in Needville ISD.

REFERENCE

1. Karen Purvis, Introduction to TRBI, streaming video, YouTube, accessed July 6, 2023, https://youtu.be/7vjVpRffgHQ (uploaded September 29, 2015).

Attend the 2024 President’s Concert Dallas Winds, with Boston Brass and Saxophone Soloist Timothy McAllister Thursday, February 8 • 8:00 p.m. Southwestern Musician | February 2024 29

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SOUND IDEAS ORCHESTRA: Including Everyone in the Music Room by bethany hardwick

ix years ago, I had very little experience teaching special education students. Most were general education students who received some special education services. Then a grad school project inspired by Richard Meyer’s Giving Bach program set me on a path toward special education inclusion in the orchestra room. I’ve never looked back. Orchestra for All When I started a Giving Bach program on our campus, I knew it would benefit special education students, but I didn’t predict the positive impact it would have on our whole community. My students were already wonderful, but through their participation in this program, I watched them become kinder humans who looked out for everyone. They became more understanding of their peers, more accepting of differences, and more willing to make new friends. Perform for Peers The first step toward inclusion on your campus is to form a relationship with the special education teachers. Students in selfcontained special education classes typically leave their classroom only for lunch, P.E., and occasionally for electives. In a way, they are isolated from many of the things happening on campus. Most special education teachers I’ve met want their students to be included more often; they just need the opportunity. Your students perform several concerts throughout the year. Consider inviting special education classes to observe your final rehearsals before concerts. Students can sit in an area of the room and watch, or your students can circle around their peers and play for them. If you have a stage, your special education students can sit in the audience. Your orchestra gets a chance to run through music for an audience, and their peers get to work on their audience listening skills. If you are willing, take it a step further. Invite students to touch the body of the instruments while they are being played. Students with different sensory sensitivities feel the vibrations of instruments much stronger than most. You might need to instruct students and guide them along the way, but when your own students understand the expectations, your guests will too. You can also create opportunities for the students to safely play on the instruments. On the www.givingbach.org website, there are resources to help you create that performance opportunity with your students. My students created an interactive concert experience where we talked about the story behind the music we were performing, and we invited students to touch the instruments and feel the vibrations. We demonstrated different styles, encouraged our special guests to conduct, and created a performance opportunity. The students sat in the orchestra next to the performers so they could

Want to Learn More? For helpful resources on inclusion in the music classroom: Giving Bach: www.givingbach.org United Sound: www.unitedsound.org StringRise (cardboard string instruments): www.stringrise.com get the full experience. It became so popular that teachers would come in during their conference periods to participate as well. These interactive concerts let the whole campus know that the orchestra room was open to everyone. Prepare Your Students As I began my path toward an inclusive orchestra, I had to embrace the fact that I was afraid of the unknown. How do you handle a wider range of unfamiliar behaviors? Is it okay to ask questions about the students? Your students have the same concerns. Before our very first interactive concert, our lead special education teacher came into the classroom and spoke about her students. She helped our orchestra students know what to expect. She ensured we knew the name of each student who would be joining us and something about them. She helped us understand that these were our peers and friends. She encouraged questions and explained why students had certain fidgets or reacted in different ways. She wanted the students to feel comfortable and unafraid. When concert day came, there were no surprises. Students knew what to expect and could just enjoy the moment. Build Relationships After our first concert, I noticed orchestra students saying hello to their new friends in the hallway. Our campus Circle of Friends program grew from 3 to about 25 students. Our special education students suddenly had friends outside their class to sit with at lunch. I was pleased to receive photos of orchestra students at birthday parties, getting ice cream, and going to concerts with their new friends. I started this program thinking it would be something small that we could try on occasion in our classroom. Instead, our students invested in this program and turned it into a part of our orchestra identity. Now, I can’t imagine my classroom without it. Music is for everyone, and every student deserves the 0 chance to make music with their peers. Bethany Hardwick is Director of Orchestras at Johnson MS (McKinney ISD).

Southwestern Musician | February 2024 31

TMEA Orchestra Vice-President JENNIFER MARTIN

You Are the Most Valuable Resource You are the face and the heart of the program—take pride in that and play to your strengths to bring out the best in your students!

ake a minute and list a few of your program’s successes, or wins, so far this school year—big and small. Don’t downplay the small wins, because no big wins come without the smaller (and often unnoticed) wins. If you’re on a roll, with several coming to mind, go with it and enjoy! If you’re having difficulty coming up with some, for now, give yourself permission to turn off the part of your brain that gravitates toward what still needs to be improved. Turn your focus to what is going well and what your students have accomplished. Now I want you to know the truth—you made this possible! Yes, your students absolutely deserve credit and celebration. As educators and leaders, we are hardwired to shift the spotlight to our students, but without you, none of this would be possible. I hope your students, their parents, and your administrators make a point to tell you how amazing you are. People often think it, but too often they forget to take the time to send the text or email, to make the phone call, or to walk down to your room to tell you in person. So read this now and let yourself celebrate you! Of all the resources your program has, you are the most valuable and irreplaceable. You are the face and the heart of the program—take pride in that and play to your strengths to bring out the best in your students! Let’s make sure we are leveraging our power together as the Orchestra Division and as TMEA to support and encourage each other! Burnout

32 Southwestern Musician | February 2024

MARK YOUR CALENDAR check www.tmea .org for updates

February—Renew your membership and register for the convention. February 1—Honor Orchestra online entry opens. February 7–10—TMEA Clinic/Convention in San Antonio. February 8, 8:00 a.m.—TMEA General Session at the convention. February 8, 5:15 p.m.—Orchestra Division Business Meeting at the convention. February 9, 5:15 p.m.—TMEA Region Meetings at the convention. March 1—Texas Music Scholar online application opens.

is real. If we don’t take care of our own, and directors don’t feel like they’re valued, we all lose. I’m reading the book Hello My Name Is Public School and I Have an Image Problem by Leslie Milder and Jane Braddock. Two of my takeaways from the book are that we need to make sure successes don’t go unnoticed and that educators need to support each other. The authors write about the powerful sense of unity, pride, and brotherhood/sisterhood in a firehouse. They were impressed by the way in which the firefighters in their lives speak with pride about being a firefighter and about how important unity is for service-oriented careers. Firefighters work closely together and even live together for periods of time. As orchestra and mariachi directors, we spend the bulk of our time in our silos, working with our groups. Some schools have more than one director, so they have a partner to collaborate with, but many of you are the only director and you might even teach in more than one school. The potential for feeling alone in that situation is high! Make it a point to reach out to other directors in your area and check in on

them. Encourage them and make sure to remind them that what they are doing is important and valuable! Take time to learn about other programs that are in similar situations and those that are different. Share and learn from each other. For first-year directors, everything is new! No matter how well equipped they are when they walk in, the learning curve is huge. More experienced directors can make the journey a little smoother by showing them the ropes and sharing knowledge and by recounting the great experiences and best parts of the profession. They don’t need you to put on a front or minimize the challenges (people see right through that). They need strong leadership to share their vision and offer a blueprint they can follow

to grow themselves and to grow our amazing profession. Who wants to continue in a career surrounded by older colleagues who endlessly complain about the job? Younger directors should never assume they have nothing to offer. Experienced directors need you desperately as well! They need your energy, your passion, and your willingness to work to make things the best they can be. Veteran directors need to remember the spark that started their careers and what it was like when they didn’t have 20 years of UIL experience under their belts. They also need your innovation and your ability to see things in a different way so that music education remains relevant and responsive. I’m still so grateful that early in my career there

Southwestern Musician | February 2024 33

were experienced directors who took me under their wings and let me be a part of their group at conventions, Region Clinic/ Concerts, and summer camps. Convention Reminders Keep this idea of learning from each other in mind when you attend our convention. Take advantage of this pocket of time to learn, to encourage, and be encour-

aged by the largest pool of directors you’ll probably ever be in! If you haven’t yet, be sure to register for the convention before you arrive so that your badge pickup process is as efficient as possible. You can continue to register online. Go to www.tmea.org/register for details. I want to encourage you to attend the Orchestra Division Business Meeting

Attend the TMEA Clinic/ Convention! Pedagogical Clinics • Division Business Meetings Extraordinary Concerts • All-State Rehearsals Networking Opportunities • Huge Exhibit Hall

Thursday at 5:15 p.m. and your Region Meeting Friday at 5:15 p.m. to stay informed on Orchestra Division business. This convention unveils the first Orchestra Division Invited Spotlight Program Clinic/Performances. We have two amazing programs to spotlight a variety of the great things happening across the state in this inaugural year. My hope is that this year, and in those to come, this program will feature a wide variety of programs and provide practical tools and inspiration to bring home to your work! Make Your App Schedule The app is available to download, so you can create your schedule, connect with other attendees, and find exhibitors to visit. Go to www.tmea.org/2024app to learn more about downloading the app and the 2024 event and for helpful guidance to maximize your use of it. The TMEA staff carefully reviewed attendee comments from their use of this app in 2023 and implemented several noticeable improvements. I look forward to seeing you at our convention and wish you a most wonderful experience! 0

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Intersectionality in the Music Classroom

By Nicole R. Robinson

s music teachers, we stand at the crossroads of culture, education, and social dynamics. Our classrooms are not just spaces for imparting musical skills; they are vibrant ecosystems where diverse identities, experiences, and perspectives converge. In this article, I explore the concept of intersectionality—a framework through which we can enhance our understanding of how different facets of our students’ identities shape their lived experience and influence their relationship with the music we teach. In the context of the music classroom, intersectionality is not merely a buzzword but a crucial lens through which we can understand and respond to the varied experiences of our students’ lives. This approach acknowledges that each student’s lived experience is influenced by their multifaceted identities, including race, gender, socioeconomic status, ability, and more. Embracing intersectionality in the music classroom enables us to foster learning environments that are not only more inclusive and responsive, but also deeply attuned to cultural sensitivities. What Is Intersectionality? Intersectionality is a theoretical framework for understanding how aspects of a person’s social identities (e.g., gender, race, class, sexuality, ability) combine to create different lived experiences. The term was first coined by UCLA Law Professor Kimberlé Crenshaw in 1989. At its core, intersectionality recognizes that the various aspects of identity are not independent of each other; instead, they intersect and interact in complex ways. For instance, the experiences of a Black female student are shaped not only by her gender and her race but by the combination of these identities, which can create specific experiences that are different from what may be experienced by a White female student or Black male student. Another 36 Southwestern Musician | February 2024

example, the experiences of a White male student with a disability would be uniquely different from the experiences of a White male student or White female student without a disability, and so on. Intersectionality challenges single-axis thinking and instead advocates for a more nuanced understanding of the complexities of the varying lived experiences of our students—particularly those from marginalized groups or communities. This framework is required if we are to create an inclusive classroom environment. By recognizing the interconnected nature of social categorizations, intersectionality offers a more holistic perspective on human experience and highlights the ways in which various systems of oppression overlap and affect the students we teach. Why Does Intersectionality Matter in Music Education? In music education, intersectionality reminds us that each student’s experience in our classroom is influenced by a unique combination of identity factors (e.g., gender, race, class, sexuality, ability). Intersectionality challenges the one-size-fits-all approach and urges us to consider the diverse backgrounds and perspectives that students bring to their learning journey. In a music classroom, intersectionality manifests in various ways. It influences students’ access to music education, their relationship with different music genres, and even their classroom participation and performance. For instance, a student from a low-income background might face barriers in accessing instruments or private lessons due to high costs and or fees. Similarly, a student’s cultural background might negatively affect their connection to, and therefore their participation in, the traditional Western canon of music typically taught in schools across the U.S. By acknowledging these intersecting identities, music educators can better understand their students’ unique needs and challenges

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and address them appropriately. This understanding of intersectionality is crucial for creating a learning environment where all students feel seen, heard, and valued. The music education curriculum is a powerful tool in fostering an inclusive classroom experience. An intersectional approach to curriculum design involves: • Diverse Repertoire: Including music from various cultures, genres, and historical periods. This not only broadens students’ musical exposure but also allows them to see their own cultures represented. • Cultural Context: Teaching the historical and cultural background of music pieces. This helps students understand the broader context of the music they are learning. • Student Voice: Encouraging students to share their musical interests and experiences. This can lead to more engaged learning and a sense of ownership in their musical education. • Critical Discussions: Facilitating conversations about how social issues intersect with music, such as explor-

ing how different artists have used music as a form of social commentary. By integrating these elements in curriculum development, music educators can create a curriculum that not only educates but also empowers students by honoring their diverse identities. Why Learn More About Intersectionality? As music educators, continual learning and development are crucial, especially in areas that profoundly impact our students’ experiences. Understanding intersectionality is not just an academic exercise; it’s an essential component of effective and empathetic teaching. In a rapidly changing world, staying relevant as an educator means continually updating one’s skills and knowledge. Understanding intersectionality is a part of this professional growth. It ensures that music teachers can effectively address the needs of their current and future students, who are increasingly diverse in terms of race, ethnicity, gender identity, sexual orientation, and other aspects of identity. Music educators should prioritize learning more about intersectionality for

the following reasons: Enhancing Empathy and Understand ing: Learning about intersectionality helps teachers develop a deeper empathy for the varied experiences of their students. It allows educators to see beyond the surface level of a student’s identity and understand the multiple factors that influence a student’s relationship with themselves and others. This understanding is key to building strong, supportive relationships with students. Creating More Inclusive Classrooms: With an understanding of intersectionality, music teachers are better equipped to create learning environments that are genuinely inclusive. This includes selecting diverse musical pieces, acknowledging various cultural contributions to music, and addressing the unique needs of all students. An inclusive classroom is one where every student, regardless of their background, feels valued and seen. Challenging and Expanding the Curriculum: Knowledge of intersectionality encourages music teachers to critically evaluate and expand the music curriculum. It pushes educators to go beyond the traditional Western-centric music educa-

Southwestern Musician | February 2024 39

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tion to incorporate a wider range of musical styles and histories into the curriculum. This not only makes the curriculum more inclusive but also more engaging and relevant to a diverse student body. Advocating for Equity in Education: Music teachers equipped with an understanding of intersectionality can become powerful advocates for equity in education. They can recognize inequitable, systemic issues within their schools or districts and work toward more equitable practices, from resource allocation to representation in music programs. Equipped to Support All Students Learning about intersectionality equips music teachers with the necessary tools, perspectives, and empathy to effectively support a diverse student population. It’s an investment in your professional development and, more importantly, in the success and well-being of your students. Furthermore, learning about intersectionality is not just an addition to the repertoire of music teachers; it is a fundamental shift in perspective that enriches the entire educational landscape. Equipping

yourself with the necessary tools, insights, and empathetic understanding ensures that your teaching practices are not only inclusive but also deeply resonant with the diverse experiences of students. This journey into intersectionality fosters a classroom environment where every student, irrespective of their background, feels acknowledged and empowered in their musical expression and learning. Moreover, this knowledge transcends the boundaries of the music classroom. It helps teachers become advocates for broader systemic changes in various educational settings, promoting equity and understanding in ways that impact the school culture as a whole. Investment in understanding intersectionality is thus an investment in the professional growth of music teachers, enhancing their ability to connect with, inspire, and support a wide array of students. Most importantly, the insights gained from intersectionality directly contribute to the success and well-being of students. It allows music education to be a vehicle not just for musical proficiency, but for fostering respect, celebrating diversity,

and building a more compassionate and understanding community. This holistic approach to education is what ultimately prepares students for a world that is rich in diversity and complexity. In embracing intersectionality, music teachers not only refine their teaching methodologies but also become part of a transformative process that shapes more just, inclusive, and vibrant educational experiences for all students. 0 Dr. Nicole R. Robinson is Founder and CEO of Cultural Connections by Design, LLC, and is a 2024 TMEA College Division Featured Clinician. Prior to starting her company, she served as Associate Vice President for Equity and Diversity at the University of Utah and elementary music education professor at University of Utah, Syracuse University, Virginia Commonwealth University, and University of Memphis.

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Southwestern Musician | February 2024 41

TMEA Vocal Vice-President JOSHUA MCGUIRE

The Great Experiment Our students set an example for displaying grace, listening with intention, and offering space to grow through the experiences of others.

ere we are! It’s the month your TMEA Executive Board has spent endless hours preparing for—to deliver mountaintop convention experiences for directors, students, and their families. What a privilege it is to serve the Vocal Division! It is humbling to see the dedication to a common cause by so many volunteers throughout our state. From All-State choir camps throughout the summer, to MS/JH and high school Region Choir performances in the fall, and to the final preparations by our Invited Choirs and students selected to the Texas All-State Choirs this month, so many have spent several months of detailed preparation to present a clinic/convention that sets the standard for the rest of the country. In mid-December, I was standing in the middle of downtown Dallas watching thousands of people run the annual Dallas Marathon. One of the most inspiring things for me each year is to watch my husband, friends, and so many others who have trained for months to succeed at this annual event. I’m told one of the highlights for the runners is the energy created by so many gathered for a common experience, regardless of age, politics, faith practices, nationality, and other differences that tend to divide our society. They just love to run. As I anticipate seeing so many of you in San Antonio this month, I reflect on these runners and their accomplishments. Each of them deeply respected and understood the work it took for their peers to show up and perform, regardless of where they started in the training process or their motivation for running. How fantastic it will be when we attend our February convention with that same mindset! As I continue to reflect on the marathon, I’m reminded about a

42 Southwestern Musician | February 2024

MARK YOUR CALENDAR check www.tmea .org for updates

February—Renew your membership and register for the convention. February 7–10—TMEA Clinic/Convention in San Antonio. February 8, 8:00 a.m.—TMEA General Session at the convention. February 8, 5:15 p.m.—Vocal Division Business Meeting at the convention. February 9, 5:15 p.m.—TMEA Region Meetings at the convention. March 1—Invited Choir online application opens. March 1—Texas Music Scholar online application opens.

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conversation with my chamber choir from the same week. I told them that I refer to our shared choral experience as “the great experiment.” In each rehearsal, students from all walks of life enter our choir room with varied experiences and beliefs, representing cultural and religious backgrounds that are in conflict outside the bubble that is Room 1300. But, like the runners in the Dallas Marathon, they make the decision to be part of a community that values and respects the work and experiences of others for the common good. Deep conversations that most days would drive groups

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of people apart are instead met with the intention to listen, learn, and understand. These students are no different than the students who make up the ensembles on your campus. The world has given them a million reasons why they shouldn’t coexist with respect for each other. Our students set an example for displaying grace, listening with intention, and offering space to grow through the experiences of others. As many of you attend our annual convention this month, I encourage you to exercise the qualities you hope to instill in our student leadership. May you find joy in championing the work of others in San Antonio. It is yet another great experiment of bringing people together to celebrate our differences and our shared passion for music. Clinic/Convention Has Something for Everyone I hope you will take the opportunity to fill your schedule with many clinics and performances offered at this year’s convention. While the early registration deadline has passed, it’s not too late to register and attend. Go to www.tmea.org/register to learn more and register before you arrive to ensure the most efficient badge pickup process. There has been much detailed planning involved to ensure you have the opportunity to attend clinics that fit your current needs. If rehearsal techniques or inspiration on the podium are what you are looking for, don’t forget to sit in on the rehearsal of one of our four All-State Choirs and watch world-class conductors transform lives. Also consider attending as many concert sessions as your schedule will allow (and check the Music Showcase schedule, which has a couple of vocal groups performing in these short segments in between clinic hours). Attend the Vocal Division Business Meeting Join me at 5:15 p.m. on Thursday for the Vocal Division Business Meeting in Stars at Night Ballroom 1 as we celebrate and honor fellow directors, acknowledge the large team of volunteers responsible for another great convention, and hear news about the upcoming opportunities in the Vocal Division.

Make Your App Schedule The convention app is available to download, so you can create your schedule, connect with other attendees, and find exhibitors to visit. Go to www.tmea.org/2024app to learn more about downloading the app and the 2024 event and for helpful guidance to maximize your use of it. 2025 Invited Performing Choirs It’s already time to begin thinking about applying for your ensemble to perform for the 2025 Clinic/Convention. Information regarding dates, supplemental materials requested, and updated requirements can be found at www.tmea.org/invitedchoir. While you’re at the convention, take note of these choirs and perhaps discuss with their directors the opportunity they’ve experienced. Texas Choirs Representing at Southwestern ACDA Congratulations to our colleagues and their ensembles selected to represent Texas at the Southwestern ACDA Conference in Denver. • A.C. Jones HS Varsity Mixed Choir, César Galaviz, director • Allen HS Varsity Treble Choir, Kathryn Zetterstrom, director • Fort Settlement MS Varsity Treble Choir, Kristen Jordan, director • Grand Prairie Fine Arts Academy Treble Singers, Joel Duarte, director • MacArthur HS A Cappella Treble, Lauren Davis, director • Stephen F. Austin State Univ A Cappella Choir, Michael Murphy, director • Timber Creek HS Chamber Choir, Adrian Kirtley, director • The Woodlands HS Chamber Choir, Patrick Newcomb, director • Wylie East HS Varsity Tenor-Bass Choir, Nathan Dame, director • Young JH (Young Men), Christi Jones, director Our best goes to these groups as they prepare for this incredible opportunity! With our event just days away, I look forward to seeing you in San Antonio for 0 our amazing convention!

SOUND IDEAS VOCAL: Rounds, Refrains, and Improv by raegan grantham

ingers experience joy and great connection with their singing community when they develop their ability to improvise and harmonize together. Yet, these skills are often underdeveloped in the choral classroom setting. Focusing on this development will benefit your singers educationally and will enhance the sense of connection in your singing community. Through rounds, partner songs, and folk song refrains, students can build their auditory skills and recognition of common chord structures. Eventually, they can learn improvisation, too. While students are absorbing these songs, they will make inferences about the music. The goal is that each time students review the song, they are learning new layers. With rounds, students can recognize which round includes only one chord versus rounds that utilize two or three chords. Students can begin to understand the basic formats of rounds—they consist of two, three, or four sections. These sections are usually pitched as low, medium, or high. With refrains, students can learn which ones are also partner songs. Students can even discover their own songs that fit together like partner songs (mashups). When I teach my favorite rounds and refrains, I think of it like introducing my students to my oldest friend. I want to give them a great first impression, but I know over time, the students will learn all the many reasons why I admire this friend—the knowledge, the variety, the history, the storytelling, and the enjoyment of it all. A side benefit of this work is that over time singers develop a library of songs they can sing on the spot, allowing you to respond to impromptu performance opportunities (visiting feeder schools, on trips, at the request of an administrator, etc.).

Getting Started First, select 3–4 rounds you really enjoy. Select tunes that are varied in tempo, subject matter, and mode. Repeat these rounds in a number of keys and change how you layer them. Next, teach a refrain, preferably a partner song, so you have options for how you can continue to utilize the piece. You can teach one song at a time, eventually leading to the combination. Another great idea is to collect some unpitched percussion for your classroom. Of course, stomp, clap, snap, and pat are great options, too, but your students will respond like they are opening birthday gifts when they realize they get to play percussion. It’s seriously too fun to pass up!

Teaching Improvisation Once students are thoroughly acquainted with this repertoire, we branch out into learning improvisation. This is their chance to be the composer. It is musical responsiveness to what is happening in the moment in the room, on the stage, at a gathering, on the bus, at the celebration. While teaching students to sing rounds and partner songs might come easily to us, the less traveled road is helping our students feel brave enough to improvise! Some directors might even be anxious about modeling improv for their students. As lifelong learners and musicians, we must strive to face our own weaknesses head on, always making personal progress. It’s a great reminder to our students that the path to success will be clumsy at times and mistakes will be abundant. A tenacious spirit is the key. Improvisation can be simple. I encourage teachers to model basic forms of improv such as finding accessible harmonies or descants to add. The first step is for you to model harmonic improv. The first time I do this, I don’t even explain it to the students. I wait until I know they are confident with the refrain they are singing, and then I add harmony or a descant. I do this several times before encouraging the singers to try it. In the beginning, students copy my exact harmony or descant, and that is perfectly fine! If a class is struggling with this, we stop and outline the section that fits with tonic and the section that fits with dominant, so students can sing ostinatos of the tonic pitch or the dominant pitch. Once they can do that, they can start to add more than just do or sol to their harmony. From here, you build on their skills just like anything else. Once they show confidence in simple harmonic improv and basic descants, you can model more complicated forms for them and repeat the process of having them copy you and then try on their own. Throughout this work, it is important to acknowledge there will be mistakes and undesirable sounds. This is a vital part of students learning to use their ears. It’s important to foster a safe environment where students are open and receptive to mistakes and the concept of figuring it out. Absolutely no one starts off being perfect. Again, the road to success in anything will include many more missteps than immediate triumphs. And there you have it—the biggest life lesson we can teach our students every day: failure is success in progress and the reward belongs to those who keep trying. 0 Raegan Grantham is head choir director at Jordan HS in Katy ISD.

Southwestern Musician | February 2024 47

Magical Manipulatives for Early Learners

By Lauren Bain

ugust 2021 dawned with new hope for the school year. We had just taught a full year in-person and online, socially distanced, and masked. “I’ll just pick up my lesson plans from two years ago, dust them off, make a few adjustments and we’ll be good to go.” I naively assumed I could easily go back two years. Before long, I realized that the decrease in human interaction and increase in screen time resulting from that year had placed my youngest students at an earlier stage of social development than experienced in previous years. About half had attended our district’s PreK center; a handful did not attend PreK, and a fifth of my students had never been in a school setting. At-home learning, lack of socialization, isolation, masks, social distancing—their formative preschool years had been disrupted by a global event. A class of 23 five-year-olds struggled to focus on a single group task. Don’t misunderstand me—there’s always a learning curve with this age group; however, the attention to tasks was much more limited than I had previously encountered. Sitting and listening, mimicking motions, following simple directions (“Let’s all stand up!” or “Look at my hands”)—these were now seemingly impossible tasks. They simply did not know how to interact or stay attentive to a single task as a group. Some of the students followed me, others began self-directed activities, and others still would simply get up from their seats, wander over to a friend on the other side of the room and start a different activity. I was overwhelmed, helpless, and defeated. I allowed that single grade level to derail my successes in other classes. It would have been easy to turn on a video and call it a day, but I didn’t want to let the screen teach my students. Music is a social activity, a collective journey, and a community experience. In a season when social

48 Southwestern Musician | February 2024

interactions were limited, the world needed to remember how to be socially interactive. The Experiment I was not alone, however. My teammates were experiencing the same struggles. We brainstormed and finally settled on using centers as the general structure for our class time. In my classroom, some students went to centers set up around the room where they learned how to play with things while I direct-taught another small group. Due to the pandemic, tangible items were scarce, limited, or restricted. This was the time to play with manipulatives, their hands, their peers, and their imaginations. Initially centers were non-musical and contained items I could quarantine or easily sanitize. The centers included playing with Beanie Babies, finger puppets, beanbags, parachutes, coloring sheets, visual movement cards, picture books, or anything that I thought might engage their sense of play. My direct-teach center included learning repertoire and concept preparation (loud/soft, high/low, etc.) for the curriculum. If someone walked into my classroom, it would have looked like utter chaos. Finger puppets flew about the room, students wandered “aimlessly” to self-stimulate, and the noise level was often uncomfortable. The mess they left after class sometimes overwhelmed me. But I had to let go of my concept of a perfect music lesson and start addressing the need for building community. Over time, we were able to add a music skill center where they practiced something they learned with me, and gradually transitioned to a whole group lesson by mid-February. This started by slowly combining centers until they were in one whole group again.

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The Tools Some of the most effective tools for my classroom focus on Vocal Exploration, Concept Preparation, Beat Buddies, Lullaby Babies, and Reading and Writing Friends. Vocal Exploration: Vocal exploration is vital for reaching the head voice, cultivating pitch discrimination, and developing tuneful singing. When students make exploratory sounds with their voice, students discover what their voices can do and how each sound feels, while building confidence in their singing. Additionally,

there is no right or wrong in vocal exploration—it’s all about freedom of expression and musicality! • Foam stress ball stars: The teacher can model a whole group activity with these stars by demonstrating how to move the stars up/down/around as the voice follows. The students can then follow the stars around the space with their voices while they squish them or you can allow them to move freely through the room with those stars. • Bird Finger Puppets: Utilizing a puppet

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Bird Finger Puppets can motivate a self-conscious student to sing or make vocal sounds. These birds allow for vocal exploration, movement, and song connections. While students sing a song, they can move the bird to match the song or ideas mentioned in the song. • Boomwhackers: These have so many great uses! Students can sing into them, listen to others sing, and tap the beat or rhythm to known songs. We use them to search for Bobby Shafto’s pirate ship (sing into the tube to a location in the room), tap his secret signal (the beat while singing), and call him home. Concept Preparation: The musical concepts taught in kindergarten (loud/soft, high/low, fast/slow, beat) are fundamental to building musical literacy and musical expression. As each concept is taught, students need practice with these ideas so the learning becomes their own. It is important to start with known songs before progressing to new material. During the preparation phase of each concept, use pictures or visual representations to encourage participation and engagement in the learning.

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• Loud/Soft: Pass out pictures or icons of moons and suns. They can sing or chant using the correct voice while holding them, tap them on parts of their body or the floor, or carry them as a visual reminder as they move around the room.

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• Perform a song in a loud or soft voice (or high/low) and ask them to hold up an icon that matches your singing.

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50 Southwestern Musician | February 2024

Go to www.tmea.org// manipulatives or scan this code for additional resources. • Tap the beat and ask them to lay out the correct number of Unifix cubes to correspond to how many they counted/tapped/heard. • Pointers: One cannot underestimate the value of a pointer! Visual tracking and physical tracking of the beat is crucial for strong beat competence. I utilize glitter wands, old recorder cleaning sticks, old mallets, old drumsticks, and more. Students can lead a group activity by pointing to beat representations on the board, or they can track the beat individually on a set of their own mini-beat representation sheets. Beat Buddies: Ask any secondary music director and they will tell you that they deeply value students coming to their programs with a strong sense of steady beat! The earlier we can solidify the beat in our students, the more we can build musical competency as they grow. I discovered that merely stating “tap the beat on your legs” was not engaging or effective for some students. It was only when an object was in their hands did the interest in the activity and musicianship increase. • Use any sort of soft or fabric manipulatives to tap the beat on pictures, their bodies, or around the room. • Use foam stress ball hearts (or even a paper heart) and tap the beat on various parts of the body while singing the song.

nonjudgmental and accepting of all kinds of sounds and feelings. My students love to hold stuffies and sing to them, rock them to sleep, or perform other care-giving activities. Rocking and singing can foster: • compassion (“hold the stuffie carefully”), • tuneful singing (students sing better when they sing softly), and • connections with others (as they transfer these skills to their lives or they share their own experiences with soothing siblings/cousins/friends/etc.). One of my favorites is to model soft and tuneful singing with lullabies. Pass out finger puppets, beanbags, or regular puppets and rock them to sleep. Sometimes we lay down on the floor next to the stuffie while singing. Reading and Writing Friends: “We have some stuffies who need help reading our beat charts and figuring out how to sing the songs correctly. Once you pick your stuffie, be very kind to them as they are just learning how to track the beat like you did. Tap the beat charts gently with them as we sing along.” This is an example of how I introduce Reading and Writing Friends to early learners. Below are some other examples of how to utilize manipulatives to extend their learning. • Like beat buddies, these manipulatives can help the students track during a reading exercise. • For writing exercises, this removes the anxiety of a pencil and paper assessment that can be a barrier for many early learners. They can use manipulatives to “write” what the phrase may sound like or even create their own phrases as the next step.

Beat Buddies Lullaby Babies: Singing to a puppet is less intimidating than singing to a group of people. The inanimate puppet is 52 Southwestern Musician | February 2024

Important Organization and Procedures How you organize, distribute, and store all these objects is up to whatever method works for you. After a few unsuccessful

attempts, I ended up using a wired shelving unit with rainbow-colored bins. These bins correspond with the colored sit spot for each student and all their materials for that colored spot. We practice how to walk to the bins, find the necessary items, and return to our seats. While this might seem basic, students must know the expectations and procedures, or chaos will ensue. Add some imagination to make the entire procedure less mundane (“Walk carefully because the hearts are sleeping, and we want to gently wake them up”). The Result I discovered a new way to connect with my students, the repertoire, and my own pedagogy. Many students did not have access to these engagement tools because of systemic barriers, and these manipulatives made the curriculum more relevant to their lives. Giving students something to touch and hold and allowing their imaginations to come alive with a physical object reignited their learning. We needed to take time to evaluate their physical, social, emotional, and mental needs and learn how to address them within an academic environment before focusing on our curriculum. I recognize the financial consideration associated with these manipulatives. I began with a few purchases on my own but eventually created an Amazon wish list to share with our community. If you are considering implementing some of these ideas, there are numerous ways to spread the information. Donors Choose, Amazon wish lists, PTA, and social media are a few ways to get started. Not everything can or should be purchased up front; my success with the manipulatives came slowly and methodically as I experimented and problem solved. If you are looking for some fresh ideas, I encourage you to start with one small activity in your own classroom to see how it works for you. 0 Lauren Bain teaches K–5 Music at Carl Schurz Elementary in New Braunfels ISD.

SOUND IDEAS ELEMENTARY: Instruction That Is Accessible to All by manju durairaj

usicking is a term coined by New Zealand-born musician, educator, lecturer, and author Christopher Small. It refers to the combination of all human musical endeavors including composing, performing, rehearsing, practicing, and listening. The term musickers refers to people who engage in musicking. I deliberately use this term because in an elementary general music class, students are immersed in musicking. In small groups, as an ensemble, and as a class, they move, sing, play, create, improvise, compose, dramatize, actively listen, and more. As an Orff Schulwerk teacher, I consider myself successful when every child in each class is a joyful musicker. Joy, spontaneity, curiosity, and simply being, along with a sense of social and emotional well-being in a collaborative environment, are key considerations, with music-making being the primary means to bring them about. This implies providing students with as optimal a learning environment as possible, where multiple access points for discovery, exploration, and knowledge acquisition, as well as multiple means of expressing the knowledge, are available. This is where technology plays a critical role. There are overwhelming resources for technology and a plethora of quality resources made available by music educators. That said, my focus here is on presenting and facilitating instruction in ways that are accessible to all students. The learning resources (LR) colleagues in my school consistently champion some general recommendations that have formed a compelling refrain in my head over the years. The central hook is that our practices must benefit all students. One result has been leveraging technology in the music room to support every child. In addressing the diverse learning needs of every child, it is worthwhile to frame the discussion within the second principle of the Universal Design for Learning (UDL) framework: Providing Multiple Means of Representation. Students differ in how they perceive and comprehend information; thus, providing multiple means of representation ensures equitable access to learning materials and creates a more inclusive learning environment. Multiple means of representation is divided into three areas in the UDL framework: 1. Perception: ensuring information is equally perceptible to all learners. 2. Language and Symbols: ensuring key terms and symbols have other ways to show what they mean.

3. Comprehension: providing scaffolding to help learners process information. The following are some example strategies for technology in each of these areas. These will vary depending on the age level, developmentally appropriate considerations, context, and content: 54 Southwestern Musician | February 2024

For resources and activities related to this topic, go to www.tmea.org/durairaj2024, or scan this code to access the materials: Perception: • Captions for video and text transcripts for audio. • Closed captions enabled in presentation apps. • Alternative text description for all informative images, graphics, and animations. • Accessible text that is discoverable and searchable as text instead of an image of text (e.g., a screenshot image containing text or a PDF that is a scanned image). • Color-vision-friendly color palettes (see the online resources). • Styles and fonts that are accessible. These include features like increased letter spacing, bold outlines, higher contrast ratios, and wider characters. General recommendation of font size is at least 12 pt for handouts, 24 pt for presentations. Language and Symbols: When offering information via presentation apps, in apps like Seesaw, or in print, utilize: • Clarifying vocabulary through a list of key terms or a glossary. • Simple and articulate language. • Images and text to enhance the content, if relevant. • Speech-to-text or text-to-speech. Comprehension: • Entry and exit tickets: Anchor instruction by linking to and activating relevant prior knowledge. For an example activity you can save, go to www.tmea.org/durairaj2024. • Interactive models that guide exploration and new understandings (e.g., xylophone, ukulele, recorder, melodic and rhythmic exemplars). • Chunking information into smaller elements. • Scaffolding. This just skims the surface of this deep and complex opportunity to present material in meaningful ways with technology. Employed and integrated purposefully, technology is an invaluable tool in education, helping your musickers express their creativity. 0 Manju Durairaj teaches at the Latin School, Chicago, is an adjunct professor at VanderCook College of Music, and is a doctoral student at University of Illinois, Urbana–Champaign.

TMEA Elementary Vice-President CHRISTOPHER GILES

Spring Cleaning in the Music Room Spring cleaning in the music classroom is a multifaceted endeavor. It intertwines familiarity with evaluation, introspection with action, and collaboration with innovation.

am sure I’m not alone as a music teacher working with an incredibly small budget to service the needs of roughly 1,000 students. I spend considerable time researching instruments and accessories, new printed materials, and sound equipment I’d like to have for my classroom and performances, as well as investigating how I can stretch my budget the furthest. Oddly enough, this starts with a comprehensive spring cleaning of my classroom. Beyond the traditional notions of decluttering and dusting, the seasonal ritual takes on a unique rhythm, involving a meticulous exploration of the equipment, a review of printed materials and resources, and cultural responsiveness within the educational space I already possess. I’d like to offer some helpful tips for your consideration that have been successful for me. One of the initial spring-cleaning steps is to thoroughly assess the condition of classroom supplies and equipment. This process not only reveals immediate issues but also serves as a preventative measure, prolonging the life of the instruments and creating an optimal learning environment for students. With hundreds of students using equipment daily, wear and tear on instruments is inevitable; it’s critical to keep your equipment in good shape and take note of what may need to be repaired or replaced. With our little musicians, accidents can and will happen in the classroom. This can include broken or bent pegs on xylophones and metallophones, broken rhythm sticks, and cracked guiros. As music

56 Southwestern Musician | February 2024

MARK YOUR CALENDAR check www.tmea .org for updates

February—Renew your membership and register for the convention. February 7–10—TMEA Clinic/Convention in San Antonio. February 8, 8:00 a.m.—TMEA General Session at the convention. February 8, 5:15 p.m.—Elementary Division Business Meeting at the convention. February 9, 5:15 p.m.—TMEA Region Meetings at the convention.

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teachers we must acquaint ourselves with what is worth repairing and what we should replace. In the early stages of my teaching career, I was fortunate enough to have the knowledge within my school district to help in this endeavor. Over time I learned what was worth saving and what wasn’t. If you are new to teaching or don’t have other teachers in your district to help, I encourage you to reach out to our vendors. They all hold a wealth of knowledge to guide you in this process and are happy to help with suggestions on maintaining and repairing instruments and on upgrading what you have, with quotes for new inventory. Not only should we evaluate the equipment our students utilize in class, but we also need to evaluate our teaching resources. Diving into the inventory of published materials and resources holds immense importance. The world of music education resources evolves rapidly, celebrating diverse cultures, musical traditions, and contemporary trends. Reviewing the relevance and cultural responsiveness of your existing resources is vital. What may have been a staple a decade ago may not reflect the musical and cultural diversity present today. This introspection can be difficult, but it ensures inclusivity and relevance and helps our students find representation in our classroom materials. You can also make additional room by removing instruments or resources you have not actively used in the past few years. This isn’t to say that the materials aren’t in good shape and can’t be used, but they may have better use at another campus in your district—with permission of course! After a comprehensive audit of your classroom, you may have inventory you need to dispose of. It is important to understand your school district’s requirements for outdated or broken equipment. For example, in my school district I can discard or donate anything that does not have an inventory number provided by the district. If an item does have an inventory number, I must have principal permission to get rid of it and submit a work order to have district personnel pick it up from our campus. Responsibly managing these items not only declutters your classroom but also contributes to sustainability efforts. If you are transferring equipment to another campus, make sure you have all the necessary permissions and be sure to com-

municate where things are going through email. You can then print a copy for your records in case you need documentation for the future. You might now be asking, “I’ve gone out with the old, how do I go in with the

new?” My answer to this is to build relationships with your vendors. These can be local stores or our national retailers. Establishing relationships with music vendors is an investment in the future of your music classroom. Beyond the immediate

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concerns of repairs and replacements, vendors offer ongoing support and expertise. Regular communication with vendors allows teachers to stay informed about the latest innovations in music education and technology to help ensure classrooms remain dynamic and engaging. Our vendors are also well equipped to work within varying sized budgets. When working alongside them you can make informed decisions that align with your classroom needs, priorities, and yes— budgets. Be sure to visit vendors and introduce yourself in the TMEA exhibit hall— our music industry partners are there to help! Spring cleaning in the music classroom is a multifaceted endeavor. It intertwines familiarity with evaluation, introspection with action, and collaboration with innovation. It is a balanced blend of meticulousness and adaptability that ensures the music room remains a safe and wellequipped space. I encourage you not just to tidy up but also to keep your room as dynamic as your teaching.

Register Before You Leave Speaking of visiting our exhibitors, if you haven’t yet registered to attend our annual convention in just a few days, I encourage you to register online before you get to the convention center. While our early registration deadline passed on January 18, doing this before you arrive ensures you have the best badge pickup experience and that you can more quickly get to the sessions and networking that you’re looking forward to. Technology Preconference If you miss the January 31 online registration deadline for Wednesday’s TI:ME Technology Preconference, you can register onsite at their location (CC 214) starting at 8 a.m. for $50, payable by check or credit card (this is separate from TMEA convention registration, and you cannot use the same check to pay for both). Go directly to CC 214 to pick up that badge and attend. Clinics begin at 10 a.m. After the preconference, you can go to TMEA Registration to pick up your TMEA convention badge (open until 9 p.m. on Wednesday).

Elementary Clinics and Concerts Clinics hosted by the Elementary Division are held in the Grand Hyatt, adjacent to the Convention Center. If you are coming from the convention center, the best route is to exit the center from the North Lobby and then enter the Grand Hyatt through their east doors, just after the entrances to their parking garage. Otherwise, enter the north doors (facing Market Street). Our Invited Elementary ensembles perform in the Stars at Night Ballroom 2–4. This is on the third floor above the convention center North Lobby, which you’ll walk through when you arrive to pick up your badge. Elementary Division Business Meeting Don’t miss our annual Division Business Meeting on Thursday at 5:15 p.m. in the Grand Hyatt Texas Ballroom on the fourth floor. In addition to TMEA updates and a performance by Saint Mary’s Hall Lower School Orff Ensemble (Lisabeth Troutwine, Director), you’ll be eligible for door prizes! It’s always a great time! 0

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60 Southwestern Musician | February 2024

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SCHOLARSHIP AUDITION DATES: Friday, February 16th, 2024 1 - 3 p.m. Saturday, March 23rd, 2024 1 - 3 p.m. Saturday, April 20th, 2024 1 - 3 p.m. Individual audition dates may be requested if necessary.

DEPARTMENT HEADS Douglas R. Boyer Director, School of Music and Director of Choral Activities dboyer@tlu.edu 830-372-6869 or 800-771-8521 Eric Daub Director of Piano Studies edaub@tlu.edu

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SOUND IDEAS COLLEGE: Early Teaching Leads to Success by julie scott

ave undergraduate students ever responded to, or even challenged, your instruction by providing an anecdote about what their high school director did? Maybe the idea they shared was great or maybe it wasn’t, but to the undergraduate student who admires and adores their high school director, it’s the correct way. Research in the area of preservice teacher belief (Pajares, 1992; Raths, 2001; Richardson, 1996, 2003; and Tillema, 2000) has found that university students’ beliefs about teaching are highly resistant to change and are largely the same beliefs they entered the university with—those demonstrated by the teachers and directors they revered. Research further suggests, however, that engaging in classroom teaching experience early can encourage preservice teachers to broaden their beliefs about teaching. After reading research on teacher belief some 20 years ago, I was convinced to create a sequence for my Elementary Music Methods and Practicum classes that included teaching of “real” students. I hoped that following such a sequence would help my students learn, practice, believe in, and implement current approaches to teaching elementary music. Here’s how the sequence works. Prior to Elementary Methods and Elementary Practicum, our students take two music education classes that lay the groundwork for early teaching experience. During the Introduction to Music Education class, first-year students observe three classes—one each at the elementary, middle, and high school level. They write and discuss reflection papers following each visit. As sophomores in the Foundations of Music Teaching class, students learn pedagogical techniques and begin practicing instructional skills by teaching a private lesson to a friend or family member. I teach Elementary Music Methods to our students in fall of their junior year. I begin the semester by modeling several lessons for grades 1 and 2—the grades my students will teach. I present the lessons just as I would teach child students, but with periodic insertion of “teacher talk.” At the end of each lesson, the class recalls and analyzes the steps used in the teaching process. Next, we observe the first and second graders my students will teach. They complete a written reflection of the observation, including characteristics of the students, their musical knowledge and skills, and the sequence the teacher used in the lessons. Returning to campus, we discuss the reflections and then divide into teaching cadres of a few students each. I review activities for grades 1 and 2 from the lessons I modeled earlier in the semester, and the students select the activities they want to teach. Together, we write objectives and detailed, sequential plans for each activity, and we decide how the lesson activities will be divided among the cadre members. We return to the elementary school and the university students teach their lessons to the first and second graders. Then we share reflections and repeat the process so that each

student-teaches two or three times during the semester. For the Elementary Music Practicum class in their senior year, students teach fourth grade. I begin the semester with textbook discussions and a review of the TEKS, focusing on grade four. Next, I review several fourth-grade activities we learned the previous year in Elementary Methods. Following a week of observing the fourth graders they will work with, my students divide into cadres, choose what they want to teach, and write objectives and lesson plans in small groups as I monitor. By the fourth week of the semester, we meet at the elementary school to teach. Periodically, we return to campus to plan the next set of lessons. By the end of the semester, each student has taught 8–10 partial lessons and one full 30-minute lesson alone. When they begin student teaching, my students report that they feel well prepared because of their teaching and lesson planning experience. Their mentor teachers report that the students who have gone through this process can take on more responsibility sooner in their student teaching. The first year I implemented the early-teaching approach, I explained the process to my Elementary Music Methods class. The explanation was met with raised eyebrows and deer-in-the-headlights looks. I laughed a little and said, “I can’t tell whether you’re nervous or excited.” The students replied, “We’re a little bit of both!” I told them I thought nervous and excited was the perfect way to feel when you try something new, and they agreed. It’s exactly how I felt when I made the decision to try early teaching, but it’s been successful and fun for all, and I’ve never looked back. 0 Dr. Julie Scott is Professor of Practice and Co-chair of Music Education at Southern Methodist University. References Pajares, M. F. (1992). Teachers’ beliefs and educational research: Cleaning up a messy construct. Review of educational research, 62(3), 307–332. Raths, J. (2001). Teachers’ beliefs and teaching beliefs. Early childhood research and practice, 3(1), 2–11. Richardson, V. (1996). The role of attitudes and beliefs in learning to teach. In J. Sikula, T. J. Buttery, & E. Guyton (Eds.), Handbook of research on teacher education (2nd ed., pp. 102–119). Simon and Schuster Macmillan. Richardson, V. (2003). Preservice teachers’ beliefs. In J. Raths & A. C. McAninch (Eds.), Teacher beliefs and classroom performance: The impact of teacher education. Information Age Publishing. Tillema, H. H. (2000). Belief change towards self-directed learning in student teachers: Immersion in practice or reflection on action. Teaching and teacher education, 16, 575–591. Southwestern Musician | February 2024 63

TMEA College Vice-President MATTHEW MCINTURF

Investing in Our Future We live in an age of technology that often distracts from the substance of learning, but the arts continue to speak to what is human, enlightening, and inspiring for all.

pproaching my last convention as a member of the TMEA Executive Board provides the opportunity to reflect on what I have learned in the past two years. I have long believed that TMEA is a model for professional associations, and my time as a state officer has reinforced that opinion. I am grateful for the opportunity to serve the College Division and to be a part of the larger organization, and I am confident that TMEA’s future is bright. The educators whom I most admire invest deeply in their students. As a young teacher, I was fortunate to have mentors who invested in me and visibly modeled a commitment to excellence in making music and in teaching. This basic mode of leadership—setting a good example—is often the result of educational introspection. Educational excellence is bound to a long process of learning and is not the result of a simple equation. We often invest in students without knowing the outcome or seeing the result by the time they graduate. TMEA’s very existence is a result of this type of thoughtful leadership. It is impossible to believe that 104 years ago our predecessors could have envisioned the concerns, the demands, or the structures necessary to facilitate the extraordinary work being done by our membership today. However, they understood we are much stronger working together and that teaching and learning are necessarily a shared experience. My experience working with my colleagues on the Executive Board has reflected this deep commitment to working cooperatively. It has been a pleasure to see people from different disciplines and with a wide variety of experience work together with integrity and goodwill. The

64 Southwestern Musician | February 2024

MARK YOUR CALENDAR check www.tmea .org for updates

February—Renew your membership and register for the convention. February 7–10—TMEA Clinic/Convention in San Antonio. February 8, 8:00 a.m.—TMEA General Session at the convention. February 8, 3:30 p.m.—College Division Research Poster Session. February 8, 5:15 p.m.—College Division Business Meeting at the convention. February 9, 5:15 p.m.—TMEA Region Meetings at the convention.

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ethic that unites the Board is a commitment to help teachers create opportunities for all students throughout the state. I believe this vision will drive more change for both TMEA and music education in the coming years. There are many things in our profession that need to be better. I believe TMEA is committed, and uniquely positioned, to encourage and facilitate the positive change we need. I came onto the Board as we were emerging from the dramatic problems created by the pandemic. We all struggled with the fallout from these difficult times, but being forced to examine processes we have taken for granted provided an opportunity to think constructively about our mission and our work. My colleagues serving on the Board when I arrived had invested more time, thought, and energy than would normally have been expected. They were required to reinvent the process because there was no template. I was deeply impressed with their thoughtful response and the lessons learned from their exceptional work. The future is still unfolding, but I am confident we have all benefited from the investment made during that time. I especially want to note, despite the financial uncertainty, TMEA continued to provide scholarships and grants for teachers during this time. This is an example of the type of leadership that invests deeply in our students and models professionalism at the highest level. A great pleasure of being a member of the Board is to work with the wonderful staff members in the TMEA office. Executive Director Robert Floyd has assembled a tremendous team and imbued a vision of service and excellence that other organizations envy. The careful and considerate work that happens consistently in the office makes it a joy to be a part of this organization. I must say that I appreciate the patience the staff extends to Board members learning the process. All organizations require systems, but not all systems are administered with the grace and goodwill that is a hallmark of the professionals in the TMEA office. One of the key components of TMEA that could not have been envisioned at the beginning is the increasing importance of advocacy. Education, and arts education in particular, desperately needs effective advocacy. As a general principle, I think most people understand the value

of education. Unfortunately, explaining the implementation is not always simple or straightforward. Working with the College Division has given me a firsthand look at the understanding and accomplishment of our members and their ability to reflect and speak for our profession. The exemplary response of our division to certification and curriculum development has been enlightening and rewarding. We have many challenges to address, but the strength of our membership and their ability to communicate will lead to the solutions we must find. The greatest pleasure of serving the College Division is interacting with our colleagues across the state. I made new acquaintances, came to know people I have admired from a distance, and deepened long-standing friendships. Our work in our own institutions is important, and sharing that work amplifies what we do for our students and for the wider profession. I must also pay tribute to Robert Floyd and his terrific work. A whole generation of Texas music educators have entered the profession, have become exemplary teachers, and are now leaders during his tenure. The future of music education in Texas is in their hands. It is not possible in a paragraph to adequately praise his accomplishments or express my gratitude for them, but I am not alone in my belief that Bob’s leadership has been exceptional and that his work will endure. Finally, it has been humbling to be a small part of the leadership transition. The process to select Joe Muñoz as Mr. Floyd’s successor (beginning July 1, 2024) was managed diligently, thoughtfully, thoroughly, and with integrity. This reflects the institution and the commitment of TMEA members and leadership, both past and present. I am confident that Joe will be a leader committed to all teachers and students in our state. I am grateful for the opportunity to

serve the College Division and the membership of TMEA. I leave the Board confident in the future of music education in Texas, and in the strength of TMEA. Working together to empower all teachers and to share a vision that includes all students will bear fruit in generations to come. The arts have been a foundation of education throughout history. We live in an age of technology that often distracts from the substance of learning, but the arts speak to what is human, enlightening, and inspiring for all. Ultimately, we will continue to thrive and bring joy to future generations. TMEA Clinic/Convention If you took time to peruse the convention schedule preview in our December issue, you already know that it is going to be an outstanding gathering. The number of presentations, performances, exhibits, and meetings is impressive, but size is not the point. The fundamental reason to offer so many options is to provide excellent professional opportunities for everyone who attends. I am confident you will find something relevant and worthwhile every day, and probably every hour. Be sure to review the offerings before you arrive. You can find them in the December issue of Southwestern Musician, on the website, and most practically, in the convention app. I especially want to highlight our division’s Invited Clinicians: Carlos Abril, from the University of Miami, and Nicole R. Robinson, the Founder and CEO of Cultural Connections by Design. Each will present four thought-provoking sessions. Look for them on Thursday and Friday in the program (and don’t miss the article on page 36 by Dr. Robinson). Many of you know their excellent work and the value they will bring to our meeting. We have over 50 presentations in the College Division alone, including our

TMEA Clinic/Convention COLLEGE DIVISION

51 College Division Clinics & Research Poster Session Southwestern Musician | February 2024 67

annual College Division Research Poster Session. I am grateful to everyone who submitted a proposal to present and to the committees who voluntarily spent hours reviewing them. With over 200 submissions, there are many excellent proposals that could not be selected due to schedule restrictions. I encourage you to continue to submit in the future. Remember that many of our College Division colleagues will be giving presentations in other divisions. Please support them with your attendance and consider offering a proposal for the 2025 convention. This is also the time to encourage your students to attend the convention. Last year we had over 4,000 College Student member registrations. TMEA is committed to providing affordable access for college students (it’s free for current mem-

bers!). I have never taught a student who regretted attending the convention. Most not only learn valuable information but also come away inspired about joining the profession. With many students imbibing the politically fashionable negative presentation of a teaching career, it is exceedingly valuable for them to see committed educators, outstanding student performers, and dedicated professionals continuing to grow and to experience the powerful impact music education has on people’s lives. It is impossible to overestimate the positive effect the TMEA Clinic/Convention can have on a potential teacher! Register Before You Leave If you haven’t yet, I encourage you to register online before you get to the convention center (this includes College

Student members, who still need to register even though it’s free—consider it your RSVP). This will ensure you have the best badge pickup experience and that you can more quickly get to the sessions and networking that you’re looking forward to. If you miss the January 31 online deadline to register to attend Wednesday’s Technology Preconference, you can register onsite at their location (CC 214) starting at 8 a.m. Clinics begin at 10 a.m., and this registration cost of $50 is payable onsite by check or credit card (this registration is separate from TMEA convention registration, and you cannot use the same check to pay for both). 0

ADVERTISER INDEX Abilene Christian Univ. . . . . . . . . . . . . . . . . . . . . . . . . 53

Print Music Source. . . . . . . . . . . . . . . . . . . . . . . . . . . 44

Amarillo Symphony. . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

Rhythm Band Instruments, LLC. . . . Inside Front Cover

Ausdemore Music. . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

Sam Houston State Univ. . . . . . . . . . . . . . . . . . . . . . . 66

Austin College. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

Schreiner Univ. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

Baylor Univ . . . . . . . . . . . . . . . . . . . . . . . . . . Back Cover

Southern Methodist Univ . . . . . . . . . . . . . . . . . . . . 9, 30

Bocal Majority Woodwinds. . . . . . . . . . . . . . . . . . . . . 28

Texas A&M Univ/Commerce. . . . . . . . . . . . . . . . . . . . 20

Clark W. Fobes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Texas Christian Univ. . . . . . . . 27, 45, Inside Back Cover

Del Mar College. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Texas Lutheran Univ. . . . . . . . . . . . . . . . . . . . . . . 25, 62

East Texas Baptist Univ . . . . . . . . . . . . . . . . . . . . . . . 38

Texas State Univ. . . . . . . . . . . . . . . . . . . . . . . . . . . 6, 23

Floot Fire Inc.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

Texas Tech Univ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Forrests Music, Inc.. . . . . . . . . . . . . . . . . . . . . . . . . . . 50

Texas Woman’s Univ. . . . . . . . . . . . . . . . . . . . . . . . . . 11

Fox Products Corporation. . . . . . . . . . . . . . . . . . . . . . 26

Trinity Univ. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

JJ Babbitt Co., Inc.. . . . . . . . . . . . . . . . . . . . . . . . . . . 29

Univ of Mary Hardin-Baylor . . . . . . . . . . . . . . . . . . . . 46

JS Cellist. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

Univ of Maryland. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

Luther College. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

Univ of Puget Sound. . . . . . . . . . . . . . . . . . . . . . . . . . 19

Mark Hughes Trumpet Mutes. . . . . . . . . . . . . . . . . . . 13

UT/Arlington. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .58

Mighty Music Publishing. . . . . . . . . . . . . . . . . . . . . . . 59

UT/El Paso. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

MindaMusic School & Store. . . . . . . . . . . . . . . . . . . . . 5

UT/San Antonio. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

Music Duo. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

UT/Tyler. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

Dr. Nancy Taylor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Wayland Baptist Univ . . . . . . . . . . . . . . . . . . . . . . . . . 40

Northwestern State Univ. . . . . . . . . . . . . . . . . . . . . . . 55

West Music Co.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

Oklahoma City Univ . . . . . . . . . . . . . . . . . . . . . . . . . . 37

West Texas A&M Univ. . . . . . . . . . . . . . . . . . . . . . . . . 65

Ottawa Univ. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

William Carey Univ . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

Peripole, Inc.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

William Harris Lee & Company. . . . . . . . . . . . . . . . . . 33

The Polybandstand. . . . . . . . . . . . . . . . . . . . . . . . . . . 19 68 Southwestern Musician | February 2024

School of Music

If music is your passion,

TCU is your school.

TCU Symphony Orchestra performs at TMEA on 2/9 at 6:30PM

Scholarship Opportunities Available For You

TCU provides performance and academic scholarships that cover full and partial undergraduate tuition. Please visit our website for more information.

AUDITION DATES FOR SPRING 2024

January 27 // February 3 // February 17 February 1, 2024 - Application Deadline for fall 2024.

Graduate Programs Available For You Visit our website to learn more about graduate assistantships.

MUSIC.TCU.EDU/ADMISSIONS

Watch all of our music events on YouTube!

B AY L O R U N I V E R S I T Y

SCHOOL OF

MUSIC Where heart, mind and soul coalesce.

Baylor Presentations/Performances at TMEA 2024 Wednesday, February 7 BRENT PHILLIPS Professor of Trombone Trombone Sectional for All-State Symphonic Band

Thursday, February 8 BAYLOR WIND ENSEMBLE J. Eric Wilson, Conductor, Director of Bands With Julian Bliss, soloist 4–4:50 p.m., Lila Cockrell Theatre

Friday, February 9 MIGUEL HARTH-BEDOYA Mary Franks Thompson Director of Orchestral Studies “How to be Most Efficient and Inspiring During Rehearsals” 10–11 a.m., CC225 BAYLOR UNIVERSITY CLARINET CHOIR | MUSIC SHOWCASE Ran Kampel, Assistant Professor of Clarinet 11–11:30 a.m., CC Bridge Hall

KRISTY MORRELL Associate Professor of Horn with Kirt Mosier, Lee’s Summit Symphony “Learning from the Pros | A Wind/Brass/Percussion Toolbox Workshop (Session 3)” 1–2 p.m., CC221 KELLY JO HOLLINGSWORTH Assistant Professor of Music Education with undergraduate students Kaylee McGuire, Emily Bohmer and Maddie Bowen “Engaging Undergraduates in Research Opportunities: Why & How” 2:30 p.m., CC205 J. ERIC WILSON Director of Bands “Maximizing Your Ensemble’s Musical Potential” 2:30–3:30 p.m., CC Hemisfair Ballroom 1-2

NE W L OC AT ION BAYLOR ALUMNI RECEPTION 9:30–11:30 p.m. The Briscoe Western Arts Museum, River View Room

To learn more about the audition process, scan the QR code, then choose your instrument/area of study. For more information: music.baylor.edu or Callan_Monroe@baylor.edu baylormusic @baylormusic

Baylor University admits students of any race, color, national and ethnic origin, sex, age, disability, or veteran status.