The non-varsity band plays a vital role in the overall health of a program. With a focus on tone quality, technical facility, and musicianship, we can support their success.
34 Revitalize Your Warmup Routine Using an Ecological Dynamics Approach by lisa m
..burrell
Add flexibility and variety to your warmup strategies and help students develop individually and as an ensemble.
54 Accessible Assessment in the Elementary Music Classroom by leigh
ann garner
Teaching large and diverse groups can pose challenges when it comes to assessing student progress. Learn strategies to integrate assessment into daily lessons and do so maintaining musicality and student engagement.
2 From the Editor
4 TMEA News
6 President
12 Band 28 Orchestra 40 Vocal 50 Elementary 60 College
ON THE COVER: Adrian Mejia, now a freshman at Anahuac HS, performs with the Anahuac MS Honors Band during the 2024 TMEA Clinic/Convention. Photo by Karen Cross.
3 President’s Concert Tickets
25 Convention Details and Deadlines
32 HS String Honor Orchestra Results
From the Editor
January is the second beginning of the school year. While it can feel like the start of a year, we approach it with a better understanding of where our students are on their musical journeys and where we are as the curriculum leaders in our classrooms. This is also a season of opportunity. We are preparing for upcoming performances in the semester, which are not just events, but opportunities to showcase our students’ hard work and skill development. These performances also mark the beginning of a new chapter as we start to plan for next year, knowing that many of our students will leave us at the end of this one. This cycle of renewal is a continuum. The way we support our students and ourselves across that continuum influences their musical experiences, leaving a lasting impact on their hearts and minds. At the same time, it enriches our pursuit of professional fulfillment.
In this issue of Southwestern Musician, you’ll learn about strategies to start new student activities, professional perspectives, and pedagogical techniques that can be introduced to your students shortly after you explore the content.
This month’s feature articles focus on finding success with all levels of ensembles, looking at rehearsal strategies through an Ecological Dynamics approach to skill development, and assessing the musical development of younger musicians. The divisional Sound Ideas offerings give you specific concepts that can promote positive outcomes with your students. Our Vice-Presidents provide division-specific information and introduce some of the outstanding ensembles performing next month at our convention (the rest of those ensembles are featured in the November issue, which you can access online at www.tmea.org/ november2024).
Be sure to read TMEA News on page 4, where I share some exciting announcements about the work being done on your behalf and essential information related to the convention. It’s a great way to stay informed and connected with the latest developments in our field.
At the beginning of each new year, I’ve always found inspiration from the popular quote, “It’s never too late to be what you might have been.” This quote reminds me to follow my passion and continue to find new starting places for personal and professional development.
All my best on a great crescendo to the second half of the school year!
Joe Muñoz E xecutive Director jmunoz@tmea.org
Editor-in-Chief: Joe Muñoz
Managing Editor: K aren Cross
Advertising Manager: Zachary Gersch
TMEA Executive Board
President: Jesse Cannon II, Fort Worth ISD president@tmea.org / 817-814-2635
President-Elect: Shane Goforth, North Shore Senior HS presidentelect@tmea.org / 713-516-7158
Immediate Past-President: Robert Horton, Conroe ISD pastpresident@tmea.org / 936-709-7806
Band Vice-President: Mike Howard, Leander ISD bandvp@tmea.org / 512-570-0161
Orchestra Vice-President: Jennifer Martin, Fort Worth ISD orchestravp@tmea.org / 817-814-2640
Vocal Vice-President: Joshua McGuire, Rock Hill HS vocalvp@tmea.org / 469-219-2300 x 81201
Elementary Vice-President: Christopher Giles, Mireles Elementary elementaryvp@tmea.org / 210-394-0289
College Vice-President: Carter Biggers, Texas Woman’s University collegevp@tmea.org / 940-898-2689
TMEA Staff
Executive Director: Joe Muñoz, jmunoz@tmea.org
Deputy Director: Frank Coachman, fcoachman@tmea.org
Administrative Director: Kay Vanlandingham, kvanlandingham@tmea.org
OFFICIAL PUBLICATION OF TEXAS MUSIC EDUCATORS ASSOCIATION
2025 TMEA President’s Concert
Wednesday,
Feb. 12,
8 p.m. • Lila Cockrell Theatre
Begin your TMEA convention experience with an extraordinary performance by the Jason Max Ferdinand Singers! This diverse group of professionals, ranging from awardwinning artists to lawyers and professors, performs a wide range of choral literature that speaks to the soul. All tickets are general admission seating. Doors open by 7 p.m.
Purchase tickets online by February 7: www.tmea.org/presidentsconcert
Pick up prepurchased or buy general admission tickets on Wednesday at the Information Booth inside Convention Registration.
Jason Max Ferdinand is the Director of Choral Activities at the University of Maryland, College Park. Ferdinand received his Bachelor of Arts in Piano Performance from Oakwood College (now Oakwood University), his Master of Arts in Choral Conducting from Morgan State University, and his Doctor of Musical Arts in Choral Conducting from the University of Maryland.
TMEA NEWS
Association and Legislative Highlights
By Joe Muñoz
January begins a flurry of activities, with students being selected to our All-State ensembles, preparations for solo and ensemble, UIL Concert & Sightreading evaluation, and our much-anticipated annual pilgrimage to San Antonio for the TMEA Clinic/Convention. While it would be wonderful to have a moment to ramp up for this second stanza, music educators are always on the go, quickly moving on to the next activity or performance.
As the spring semester gets underway, the 89th Texas Legislative Session will convene their session, which runs from January 14 through June 2 (or longer, if special sessions are called). Stay informed through TMEA’s news emails, our social media channels, and alerts from the Texas Arts Education Campaign (TAEC).
TEXAS MEDAL OF ARTS AWARD
The Texas Cultural Trust named TMEA a 2025 Texas Medal of Arts Awards Honoree, recognizing our association’s significant contributions to arts education and the state’s cultural landscape. This prestigious award acknowledges TMEA’s long-standing commitment to music education and underscores our collaborative efforts within the Texas arts community. This recognition is a testament to the vital role music and the arts play in shaping students’ lives and should be a source of pride for all who have been part of TMEA’s journey.
FUTURE OF FINE ARTS EDUCATION FORUM
In November, TMEA leaders participated in the Future of Fine Arts Education Forum. The event was sponsored by the University of Texas, the Center for Educator Development in Fine Arts (CEDFA), and the Texas Cultural Trust. The forum brought together several arts sectors, including teachers, administrators, TEA staff, a State Board of Education member, arts association representatives, and civic arts organizations to discuss areas to support arts education in Texas. Representatives are committed to promoting quality arts education in a unified way to elevate and align all participants’ advocacy efforts. TMEA leaders are committed to contributing to these efforts and look forward to representing you in future meetings and collaborations.
LEGISLATIVE AGENDA
As mentioned, the start of the next legislative session will soon be upon us. Returning members of the Texas Legislature already began filing bills in November. I am pleased to report that Representative James Talarico filed HB 172, which would create a fine arts allotment under the public-school finance system. This bill has the potential to greatly impact fine arts education in Texas. You can read the bill at www.tmea.org/hb172.
We will also be looking for opportunities to add fine arts to the school accountability system as part of the CCMR standards, based on how the arts prepare students with needed skills for college, the military, and all careers in the workforce.
As a reminder, please register with the Texas Arts Education Campaign (TAEC) at www.txartsed.org. TAEC will send out action steps, enabling you to help support or share concerns about legislation related to the arts. If everyone contributes in a targeted way, we can create an effective movement supporting the arts. Be ready to act and make a difference!
BE PART OF THE TMEA’S FUTURE
Our annual convention offers prime opportunities to get informed and involved in our association’s future. Be sure to attend Thursday morning’s General Session, followed by that evening’s division business meetings, and Friday’s Region meetings.
These gatherings offer a pathway for you to share your experiences and become a part of developing our future association. Our division Vice-Presidents also host Region Chair meetings during the convention, and before leaving San Antonio, our Executive Board meets to review the event and discuss your concerns and suggestions. Offer your ideas to your Region and State officers. The Executive Board is eager to hear from our members—your voices frame their discussions about activities and policies and how TMEA can continue to improve music education in Texas. It’s important to note that many of our current policies or new activities were initiated from a member’s conversation with a Region Chair or State officer, underscoring the significant impact of your feedback.
CHECK YOUR HOUSING RESERVATION
January 14 is the deadline to cancel reservations made through TMEA’s official housing system. In early January, reservation holders will receive an email from Orchid Events (info@cvent.com) for each existing reservation. If you made a reservation you don’t need, cancel it by January 14, so others can reserve those rooms before our system closes.
NEED A CONVENTION HOTEL RESERVATION?
Through January 22, you can continue to check our reservation system for any rooms that become available via cancellations (www.tmea.org/housing). Otherwise, we advise you to book directly with other hotels or short-term rentals. Consider avoiding properties that are part of our reservation system, as any rooms they wouldn’t offer to TMEA at our rates will be sold at a premium (view the initial property list at www.tmea.org/hotelrates). 0
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Camps & Workshops
TEXAS CHAMBER MUSIC INSTITUTE • MAY 30-JUNE 8
JULIETTE HERLIN, LIZ LEE AND MICHAEL BUKHMAN
TCU BAND CAMPS • JUNE 8-12 BOBBY FRANCIS, BRIAN YOUNGBLOOD
PERCUSSION CAMP • JUNE 17&18 BRIAN WEST, JEFF HODGE
FLUTE WORKSHOP • JUNE 24&25 SHAUNA THOMPSON
CLARINET WORKSHOP • JUNE 24&25 COREY MACKEY
SAXOPHONE WORKSHOP • JUNE 26&27, ALLEN CORDINGLEY
HARP WORKSHOP • JUNE 30-JULY 2 KELA WALTON
ALL-STATE CHOIR CAMP • JULY 13-19 CHRISTOPHER ASPAAS, MARLA RINGEL FOR REGISTRATION INFO, PLEASE VISIT OUR WEBSITE AT WWW.MUSIC.TCU.EDU/SMI.ASP
TMEA PRESIDENT
JESSE CANNON II
Building your work around a clear vision helps keep your daily decisions on track with your goals, giving you the flexibility to adjust as needed while staying true to what matters most.
Shifting Priorities
As leaders, we often equate productivity with our commitment to our schools and programs. We push forward, driven by responsibilities and ambitions, yet we often overlook the power of stepping back. Resetting—taking the time to reflect, realign, and recharge—is not just beneficial, it’s essential. As we enter the spring semester, we have the opportunity to recalibrate our priorities, shifting our focus from external markers of success, like ratings, to the teaching, learning, and student growth happening in our classrooms.
RESETTING YOUR MINDSET
Resetting begins with a shift in perspective. Instead of viewing success solely through the lens of competition or performance, consider the deeper value of your daily work. Spring, a season of renewal, invites us to infuse our teaching with that same spirit. Are we cultivating curiosity, creativity, and critical thinking in our students? Are we equipping them with the tools they need to grow as musicians and individuals? Are we providing meaningful musical opportunities apart from UIL and TMEA events?
By focusing on the answers to these questions instead of ratings or accolades, you can continue to create a program/classroom environment centered on student progress.
THE VALUE OF RELATIONSHIPS AND VISION
At the heart of every thriving program lies a foundation of strong relationships and a clear vision. Investing time to nurture connections
MARK YOUR CALENDAR
January—Renew membership, purchase liability insurance, register for the convention.
January 14— Last day to cancel a reservation booked through TMEA without a fee.
January 16—TMEA convention early registration deadline.
January 22— Last day to utilize the TMEA housing reservation system to book a hotel.
February 12–15—TMEA Clinic/Convention in San Antonio.
February 13, 8:00 a.m.—TMEA General Session in Lila Cockrell Theatre.
February 13–14, 6 p.m. CT— Electronic voting for TMEA Executive Board positions.
February 13, 5:15 p.m.—TMEA division business meetings at the convention.
February 14, 5:15 p.m.—TMEA Region meetings at the convention.
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with students, colleagues, and the community builds trust, commitment, and resilience, which are vital for effective leadership.
Equally important is defining a long-term vision for your program. Ask yourself:
• What impact do I want to have on my students beyond this semester?
• How do I want my program to be remembered?
Building your work around a clear vision helps keep your daily decisions on track with your goals, giving you the flexibility to adjust as needed while staying true to what matters most.
BUILD CAPACITY THROUGH DELEGATION
The tendency to overwork can often be mistaken for dedication. Leadership isn’t about doing it all, it’s about empowering others. Greg McKeown writes in Essentialism: The Disciplined Pursuit of Less, “Doing more things does not mean getting more done.” By taking on every responsibility yourself, you not only risk burnout but also deprive others—students,
to contribute.
This spring, challenge yourself to delegate with intention:
• Students: Encourage them to take ownership by leading sectional rehearsals, or warmups, and assisting with social events. These roles build confidence, leadership skills, and a stronger connection to your program.
• Colleagues: Share responsibilities such as instructional planning, festival preparation, or team-teaching opportunities. Leverage each other’s strengths to create collaborative solutions that benefit everyone.
• Parents and Volunteers: Involve them in tasks like concert logistics, fundraising, or event planning. Their support can lighten your workload while fostering a sense of community around your program.
Delegating creates a culture of shared ownership and collaboration, which strengthens your program.
TIME IS OUR MOST VALUABLE ASSET
Time is a valuable and limited resource, and how you choose to use it will influence the success of your program. Reflect on whether you spend time on activities that truly matter or are consumed by tasks that could be streamlined, delegated, or
Here are ways you can prioritize your time effectively:
• Block out uninterrupted time for teaching, planning, and reflection.
• Limit commitments that pull you away from your primary goals.
• Practice saying no to opportunities that don’t align with your vision.
Every yes to one task or performance is a no to another. Being intentional ensures your time is spent moving your program forward.
INCORPORATE REFLECTION
Resetting also requires making reflection a regular practice. The constant drive to move from one task to the next can leave you and your students without space to process your accomplishments and identify areas for growth.
Incorporate reflection into your routine and encourage the same with your students:
• Students: Encourage them to set personal goals and evaluate their progress regularly.
• Program: Celebrate small victories, such as mastering challenging sections of music or witnessing growth in beginners.
• Yourself: Revisit your vision for the semester. What are your nonnegotiables? What can you let go of?
FOCUS ON GROWTH
It’s easy to feel burdened by expectations, whether self-imposed or inherited, such as competition scores or comparisons to other programs. However, true success is found in the personal and musical growth of your students.
Shift your conversations with students from ratings to self-improvement:
• What do you want to achieve?
• How can we work together to make that happen?
When students see themselves as active participants in their journey, they become more invested in the process and less consumed by outcomes.
RESET FOR SUSTAINABILITY
Resetting isn’t a reflection of weakness, it’s an act of strength and wisdom. It ensures that your program is built on principles that will endure long after a single semester. By fostering sustainability, you set an example for students, demonstrating that balance, collaboration, and clarity lead to excellence.
As you embark on this spring semester, embrace the power of resetting. Focus on relationships that sustain your program, the vision that inspires your work, and strategies that maximize your time.
INVITE YOUR ADMINISTRATOR TO THE CONVENTION
While some school administrators attend our convention to support their school’s performing groups and All-State students, several attend simply to take in all our con vention has to offer and to witness the great learning opportunities. This is a wonderful music education advocacy opportunity.
Invite your principals, superintendent, and school board members to register for their complimentary convention creden tials at www.tmea.org/adminregistration. The online deadline is January 31.
EXECUTIVE BOARD ELECTIONS
Per the TMEA Constitution, voting for TMEA President-Elect and VicePresidents is conducted electronically. Eligible members are not required to attend the convention to vote. In 2025, the division Vice-Presidents being elected are Orchestra, Vocal, and Elementary. Ballots will be emailed on February 13. Electronic voting closes on February 14 at 6 p.m.
EXECUTIVE BOARD CANDIDATES
According to the constitution, those nominated by four or more Regions at their fall Region meeting are official candidates. Additional President-Elect candidates can be nominated in writing, with a second, to the President and the TMEA Office. Additional Vice-President candidates can be nominated in writing, with a second, to the division Vice-President and the TMEA Office. These additional nominations and seconds must be received by January 15 and be accepted by the nominee to be included on the ballot.
By January 22, TMEA will notify members of all candidates for President-Elect and Orchestra, Vocal, and Elementary VicePresidents. Learn more about who can vote and how to ensure you receive your ballot at www.tmea.org/election. 0
Jesse Cannon II is Director of Visual & Performing Arts at Fort Worth ISD. president@tmea.org
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SOUND IDEAS
BAND: INTRODUCING NEW MUSIC AT THE MIDDLE SCHOOL LEVEL
By Jennifer Bergeron
The moment we embark on teaching a new piece is charged with excitement, as crafting the introductory experience of the music is crucial. This next piece will become the focal point of rehearsals for several weeks. As you consider programming for your next performance, reflect on your last concert. Which was your band’s favorite and least favorite? Which piece sparked the most excitement during rehearsals? And is it possible to cultivate enthusiasm for every piece students perform? The following are some strategies that have worked in our program, consistently yielding positive outcomes and ensuring a joyful and productive rehearsal atmosphere.
ENGAGEMENT
Engagement begins with your passion. If you don’t love it, then don’t play it. Select music that resonates deeply with you, and that you believe will both excite and appropriately challenge your students. Then, share why you love it and be prepared to bring that energy into rehearsals daily. Before distributing the music, build anticipation by discussing what excites you about the selection—its composer, the story it tells, and why you chose it above all others.
Before the students see the music, let them hear it—experiencing it as a listener. Discuss how the music makes them feel and the images it weaves, aiming for a collective understanding of the desired audience reaction during performances.
Pass out the music, but don’t plan on playing it right away. Allow time for individual exploration for a few days. Tell them when the first rehearsal is and set preparation expectations. By building excitement and understanding, students will not only learn the music but also connect with its intent, setting the stage for a compelling performance that resonates with audiences.
BUILDING BLOCKS
Before the full ensemble rehearses the new music, use this time to introduce concepts in the piece that will be the greatest challenge for the students. Isolating these elements out of context allows for dedicated time to focus solely on refining new skills before integrating them into the broader narrative of the music. To learn parts efficiently, utilizing sectionals is a great option if the structure of your program supports it. This approach addresses common roadblocks by clarifying questions that might arise in initial rehearsals.
Creating specific unison exercises tailored to the rhythms present in a piece is invaluable in full ensemble preparation. For instance, before tackling John Mackey’s Night on Fire, our students mastered a “Rhythms on Fire” exercise we created to ensure under-
standing of rhythmic patterns they would encounter (to download this exercise, go to www.tmea.org/bergeron2025). While melodic exercises can be effective for simpler melodies within the range of a fifth or sixth, they can push some instruments beyond their comfortable register in a unison setting. It’s crucial to maintain focus on skills directly relevant to the piece’s performance, avoiding excessive emphasis on technicalities that won’t impact the music. Efficiently allocating teaching time to ensure that students grasp individual elements of the piece allows for smoother rehearsals with fewer obstacles.
PUTTING IT TOGETHER
As rehearsals begin with the full ensemble, it’s crucial to keep the end goal in mind. How does each phrase relate to the original purpose of creating emotion in an audience? The foundation of long tones, articulation, and technical studies is to ensure the students possess the necessary skills to communicate without interrupting the audience’s experience.
I might structure the first week of rehearsals of a new piece as follows: Introduce the first fifth of the piece on Monday, followed by the next fifth on Tuesday, continuing this pattern through the week, concluding each class with a run-through of only the phrases that have been previously introduced. Friday marks the anticipated culmination, where the ensemble plays the piece for the first time in its entirety. End the week on a high note by conducting the first full run-through of the piece, capturing it as the ensemble’s initial rough draft, with an audio recording. This approach enables students to absorb the entire piece while also allowing sufficient time to develop correct habits from the start.
Each day, ensure the students achieve something great, regardless of how modest. You define what success is for the ensemble and keep them motivated toward the goal. Instead of playing broad and shallow run-throughs of many measures, aim for focused teaching that dives deeply into shorter phrases, taking care to strike a balance between detailed instruction and the broader context. The pacing should align with the piece’s complexity and the students’ abilities relative to its demands.
Cultivating excitement and a collective understanding of goals from the outset promote productive rehearsals to deliver an engaging performance that resonates with the audience. 0
Jennifer Bergeron is the Head Band Director at Walsh MS (Round Rock ISD).
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BAND DIVISION
MIKE HOWARD, STATE VICE-PRESIDENT
It is important to recognize barriers that exist within your community that make a student who wants to be in band, choose not to.
It’s Recruiting Season
Over the years, the time for student course selection has shifted earlier in the academic calendar. Admittedly, it’s often caught me off guard, and I’ve been left reflecting on what I had done to fully engage with students regarding the offerings of our band program. For most directors, the time for our final recruitment efforts and course selection is now. I hope the following three ideas can be of assistance as you work to promote opportunities for your future students:
VISIBILITY IS KEY
Our strongest recruiting effort to connect with students is simple: be visible. Whether you are a high school teacher having a presence at the middle school or a middle school teacher getting to the elementary, students recognizing you is key. If you sense your visibility within your feeder pattern has been lacking, it is not too late! Get into those band halls, high-five the kids, and allow them to put a face with your name. My strongest retention percentages from eighth to ninth grade did not come from the number of times I worked with the middle school band. They came from the number of informal interactions I had with students during and between classes. Learn as many names as you can and be sure those students are learning your name. T-shirts and social events are great, but real impact comes from building relationships.
EXPOSURE TO THE EXPERIENCE
Another impactful practice is to ensure we expose students to what
MARK YOUR CALENDAR
January—Renew membership, purchase liability insurance, register for the convention.
January 11—Area Band auditions.
January 14— Last day to cancel a reservation booked through TMEA without a fee.
January 16—TMEA convention early registration deadline.
January 22— Last day to utilize the TMEA housing reservation system to book a hotel.
February 1— Honor Band online entry opens.
February 12–15—TMEA Clinic/Convention in San Antonio.
February 13, 8:00 a.m.—TMEA General Session in Lila Cockrell Theatre.
February 13–14, 6 p.m. CT— Electronic voting for TMEA Executive Board positions.
February 13, 5:15 p.m.— Band Division business meeting at the convention.
February 14, 5:15 p.m.—TMEA Region meetings at the convention.
they will experience as members of our program. For high school directors, bringing large and small ensembles to the middle school band hall on a regular basis can have considerable impact. For middle school directors, identify opportunities to introduce elementary students to your program through engaging performances and hands-on lessons designed specifically for fourth and fifth graders. Working with your elementary teachers on developing meet-the-instrument lessons can provide a great opportunity for elementary students to touch, hold, and hear the different types of wind and percussion instruments. Realtime exposure to performances monthly is a great goal for any program when it comes to recruitment efforts.
CAST A WIDE NET
It is important to recognize barriers that exist within your community that make a student who wants to be in band choose not to. These barriers can include financial and time requirements, fear of the unknown (e.g., marching band), anxiety about learning a new instrument, or concerns with academic preparedness while being committed to a band program. These barriers differ in every community, and staying ahead of them by dispelling rumors and communicating with counselors is key to students giving it a try.
If there are financial barriers, are there support mechanisms that can be in place to ensure access to all? If students are nervous
about academic workload, can you have a group of current students assist with mentoring and answering younger students’ questions? If counselors are meeting one-onone with prospective students, have you laid groundwork with the counselors regarding scheduling, program possibilities, and your interest in all students having access?
Answering these questions will yield examples of what can be done to help create the perception (and reality) that being in band is good and accessible for every student. In the end, while we want students to be involved in our programs, we
need to remember that the greater goal is for students to get involved in something Student involvement in campus activities is one of the greatest tools to ensure engagement and retention in school. Let’s get to recruiting!
For more ideas on this topic, go to www.tmea.org/q&a and view answers to the featured Band Division question.
TMEA CONVENTION UPDATE
There are only a few days left for early registration, so be sure to take advantage of the lowest fees by registering now! This
Clark W Fobes
Clarinet and Saxophone mouthpieces
month, I am excited to feature some of our incredible Invited Ensembles. Please make time in your convention schedule to attend these outstanding performances. For information on the other Invited Ensembles, read the November issue, available at www.tmea.org/november2024.
LOS FRESNOS HS JAZZ ORCHESTRA (LOS FRESNOS CISD)
The Los Fresnos HS Jazz Orchestra, under the direction of David LaClair, is proud to represent Los Fresnos and the Rio Grande Valley at the TMEA Clinic/ Convention! In recent years, the LFHS jazz program has grown to three performing bands, with students regularly earning chairs in All-Region and All-State Jazz Ensembles. The LFHS Jazz Orchestra has won the Longhorn Jazz Festival (UT Austin), the Texas A&M-Kingsville Jazz Festival, and the Rio Grande Valley Jazz Festival. It was named a National Winner by the Foundation for Music Education’s National Jazz Honors for the last two years. The LFHS Jazz Orchestra prides itself on playing a variety of groove-based music, with a foundation in the masters Duke Ellington and Count Basie.
WEST RIDGE MS JAZZ BAND (EANES ISD)
The West Ridge MS Jazz Band is part of an extensive fine arts program at Eanes ISD in Austin. Directed by Chuck Fischer, who is enjoying his 26th year at Eanes ISD, the ensemble has performed at the Hill Country Jazz Festival hosted by Texas State University and at the ATX Jazz Fest at Westlake HS. The West Ridge MS band program educates over 200 students in grades 6–8, and the jazz band consists of 21 young musicians who have chosen to take a second music elective as part of their daily schedule. This ensemble is a joint effort among the performing music electives and includes members of the West Ridge MS choirs, orchestras, and bands, resulting in a true team effort by these musical organizations and their directors.
MARCUS HS PERCUSSION ENSEMBLE (LEWISVILLE ISD)
The Marcus HS percussion program, under the direction of Kennan Wylie, has received national acclaim, and the students in it have earned impressive academic and musical accomplishments. Previous awards and achievements by the ensemble
Music Department
include performances at TMEA conventions (1998, 2002, 2004, 2009, and 2020), Percussive Arts Society International “Call for Tapes” selection (1999, 2003, and 2014), Midwest Band and Orchestra Clinic Percussion Ensemble Concerts (2006, 2018) and eleven National Championship titles at the PASIC Marching drumline competition. The percussion studio includes the chamber ensemble, steel band, Afro-Brazilian ensemble, large percussion orchestra, and marching program. Students are engaged in percussion training from sixth grade. Lewisville ISD, the Marcus HS Band, percussion students, and parents all contribute to this success.
TEXAS A&M UNIV–KINGSVILLE JAZZ BAND I
Jazz Band I is the premier big band within the Texas A&M University–Kingsville jazz program. The students within the group represent the most accomplished jazz musicians within the university. 2025 marks the sixth performance for the band at a TMEA convention since 1995. In recent years, Jazz Band I has performed with many jazz artists, including Ernie Watts, Chris Potter, Bob Mintzer,
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Marcus HS Percussion Ensemble
West Ridge MS Jazz Band
Los Fresnos HS Jazz Orchestra
Univ of Texas at El Paso Wind Symphony
Univ of Houston Wind Ensemble
Texas Tech Univ Symphonic Wind Ensemble
Texas A&M Univ–Kingsville Jazz Band I
Paquito D’Rivera, Eric Marienthal, Doc Severinsen, Jon Faddis, Arturo Sandoval, Marvin Stamm, Bobby Shew, Claudio Roditi, and Wayne Bergeron. The ensemble has won five awards in the DownBeat Magazine Student Music Awards. In 2004, Jazz Band I was selected as the winner in the College Big Band category.
TEXAS TECH UNIV
SYMPHONIC
WIND ENSEMBLE
The Texas Tech University Symphonic Wind Ensemble, under the direction of Sarah McKoin, is the university’s premier wind ensemble, performing a balanced mix of traditional, chamber, and new music while interacting with leading contemporary composers. Emphasis is placed on the highest artistic standards and professionalism in performance excellence while offering pedagogy for the advanced musician. The ensemble has engaged in numerous commissions and collaborations with composers and guest artists, including John Corigliano, Michael Daugherty, Viet Cuong, John Mackey, Jennifer Jolley, Seraph Brass, and the Aruna Quartet. The Symphonic Wind Ensemble has performed at the Midwest
Clinic, TMEA, CBDNA, and the North American Saxophone Alliance and is recorded on the Naxos, Albany, and Mark labels.
UNIV OF TEXAS AT EL PASO WIND SYMPHONY
The University of Texas at El Paso Wind Symphony is renowned for its excellence in performance and dedication to advancing the wind band medium. Under the direction of Andrew Hunter, the UTEP Wind Symphony boasts a celebrated history of recordings including its nineteenth commercial release, Stages, released in 2024. As the premier wind band at America’s leading Hispanic-serving institution, the ensemble regularly commissions, performs, and records music by Mexican-heritage composers. UTEP annually hosts a high school honor band and a wind ensemble festival, all featuring world-renowned music educators. Its music education initiatives include the From the Beginning project, which emphasizes artistry and expression in music for young bands. UTEP alumni hold positions with America’s premier military bands and serve as exemplary music educators nationwide.
UNIV OF HOUSTON WIND ENSEMBLE
The Moores School of Music Wind Ensemble is one of the premier ensembles on the campus of the University of Houston and is under the direction of David Bertman. Made up primarily of undergraduate music education and performance majors, the ensemble is committed to exploring traditional band works, orchestral transcriptions, and new music. Students at UH are engaged in a multifaceted education, with students performing in varied ensembles, including the concert bands, the Spirit of Houston Marching Band, Symphony Orchestra, the Jazz Orchestra, percussion ensembles, chamber groups, and more. The Wind Ensemble has a legacy of musical excellence under its storied conductors. In addition, the band program has produced generations of music educators at all levels across the state of Texas. 0
Mike Howard is the Director of Fine Arts, Music, and Performing Arts at Leander ISD. bandvp@tmea.org
By John Carroll and John Mireles
TSuccess with Non-Varsity Band Programs
he non-varsity band plays a vital role in the overall health of a program, and as non-varsity directors, it is our responsibility to help students develop in their musicianship and leadership. If we are successful in this endeavor, the transition into a higher-level ensemble will be more organic. The expectations of non-varsity individual members and the ensemble should mirror those we hold for the varsity ensemble.
The UIL evaluation process has provided us with a standard by which we can measure successes along the way. In preparation for these evaluations, our task is to develop better student musicians as well as provide students opportunities to perform at high levels. UIL preparation allows us to extend that standard of excellence to all non-UIL events as well. The success of an ensemble relies on the development of the individual student’s abilities. Three fundamental areas for any student’s progress are tone quality, technical facility, and musicianship.
STUDENT DEVELOPMENT THROUGH FUNDAMENTALS: TONE
Tone quality is arguably the most important consideration in playing wind instruments. Non-varsity band students can and should be pushed to attain characteristic sound quality, just like their varsity-level peers. Daily long-tone exercises, of which there are a myriad of possibilities, are a must for the development of high-quality tonal centers. These fundamental exercises not only allow for students to grow in their tonal concept but also provide them an opportunity to refine air control, pitch consciousness, and sound clarity. In considering specific brass sound production, lip flexibility drills should be considered a staple in students’ daily musical diet.
While we work on sound production skills with our brass sections, what do our woodwinds and percussionists do? This is the time to get creative in your approach. Try maximizing this time by layering woodwind and mallet technique exercises over the brass flexibility exercises. Not only do the woodwinds improve, but it also
promotes an environment in which percussionists are engaged in the fundamental routine.
STUDENT DEVELOPMENT THROUGH FUNDAMENTALS: TECHNICAL FACILITY
Along with the development of tone, we must help our students build technique. Take great care to ensure students do not play faster than appropriate for their skill level. Playing too fast too soon can diminish the work they accomplished on developing tone quality. Technical exercises allow the director to draw inspiration from multiple sources. We can use scales, arpeggios, Clarke Studies, and, most importantly, technical selections from music the students will perform.
Be sure to layer articulation exercises into the fundamental routine. Students should be capable of playing styles such as legato, marcato, and staccato. Rhythmic exercises can be found in many resources. Key signature study can be drilled through daily sightreading exercises. Incorporating these technical elements into our instruction not only enhances students’ overall musicianship but also lays a strong foundation for their future growth.
STUDENT DEVELOPMENT THROUGH FUNDAMENTALS: MUSICIANSHIP
With well-developed tone and technique, students can perform with a greater sense of musicianship, but that doesn’t mean one precedes the other. Musicianship should be developed concurrently with progress on tone and technique. For example, the band can perform long-tone exercises with dynamic contrast. Another example of how musicality can be layered onto an existing fundamental warmup is by providing line and shape to every technical drill. At the beginning of our careers, we were unsure of when to add musicality to the process. As time went on, we realized that it must be part of the process. It frustrates us and our students when we learn the rhythms and notes and only then add musical nuance. When a student changes styles and articulations without
BLINN COLLEGE MUSIC DEPARTMENT
The Blinn College Music Department offers the following degree pathways:
• Fully Transferable Associate of Arts Degree in Music
• Co-Enrollment Pathway with Texas Woman’s University for Bachelor of Science Degree in Music Therapy
• Co-Enrollment Pathway with Lamar University for Bachelor of Music Degree in Music Education
Our band and choir are open to music majors and non-majors alike. Schedule an audition and you could perform at world-class venues while living alongside your fellow band members in our Brenham Campus residence halls!
February 1, 2025
February 22, 2025
March 15, 2025
April 5, 2025
May 10, 2025*
* Auditions and Color Guard Camp
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being prompted, it is a marker that they are developing musicianship.
A final thought about fundamentals— students did not join the band to work on fundamentals. Be creative in pacing your rehearsals in an efficient way that balances fundamentals and the rehearsing of repertoire to keep the students (and you) engaged.
STUDENT DEVELOPMENT THROUGH REPERTOIRE
The correlation of advanced fundamentals and high-quality music cannot be overstated. It is imperative to choose the appropriate repertoire, capitalizing on the ensemble’s strengths while promoting growth in weaker areas. Even before a rehearsal begins, our repertoire choices have the potential for setting students up for success or failure. Looking back on our careers, we realize the most frustrating years were those when we failed to choose music appropriate for our students.
Keep in mind that there is rarely a onesize-fits-all piece for your band. Influential band director James Keene would say to write down the strengths and weaknesses of every section in the ensemble. Then note what, if any, soloistic strengths were present. With clarity on what can and can’t be featured and what needs further development, you can proceed with music selection.
In addition to music selection, one of
our responsibilities is to rewrite material when needed to enhance the quality of our ensemble’s performance (always keeping the composer’s intent in mind). For instance, we might rewrite a horn line for euphonium. A developing third clarinet section could be enhanced by the addition of the alto saxophone.
CUSTOMIZING EXERCISES
As you prepare for UIL evaluation or any other performance, be creative with your routine, focusing on the demands presented through your repertoire selections. For example, if you have a difficult technical passage in the woodwind/mallet section on a piece, write it as a longtone exercise. This can then be modified to full runs at slower tempos. All this can be done while brass and percussion work long tones or lip slurs. This provides students an opportunity to stay engaged, which of course helps with classroom management. Another example of using material from your repertoire is to take problematic rhythms and work them into rhythm sheets.
As mentioned earlier, the ensemble director is tasked with addressing developmental needs of the ensemble and its individual musicians. By doing this, we offer any student who may have a weakness in a particular skill an opportunity to grow. For example, a student may not be fully proficient at performing a technical line. Before deciding to rewrite it, devise a
warmup that offers the students a slower, more methodical approach. While higherachieving students capitalize on the extra reps, those needing more skill development have the opportunity to grow without the performance tempo pressure.
To make better, more educated repertoire selections, utilize good recordings and consult with mentors and colleagues. When working with clinicians, it is best to have them listen to your ensemble early and often. Directors often invite clinicians to visit rehearsals just prior to a performance or UIL evaluation. When we ask clinicians to listen to our ensembles at their most vulnerable state, the clinician can offer effective suggestions for individual growth and the future development of the program. There is no such thing as changing a repertoire selection too early, but there is such a thing as changing it too late.
Once you select music, work back from any performance dates to map out tempo plans to determine where to begin the process. Often, the first measure is not the optimal starting place. Offer yourself and your students benchmarks along the way. These checkpoints should offer easy ways for students to experience success. For example, share your plans for the day, week, and month with them. This allows students the opportunity to monitor their progress along with you.
As student abilities evolve throughout the semester, be sure that you and they pause to enjoy their successes. We’ve each experienced times in our careers where we and the students missed the joy brought by the process. The act of music-making with our non-varsity band students should be something that promotes both happiness and student development.
Our students deserve the best we have to offer. They, in turn, will give of themselves and make the music-making experience more enjoyable and memorable for all. 0
John Carroll is a retired band director and TMEA Past-President. John Mireles is the Head Band Director at Roma HS.
Join Thousands of Music Educators at the 2025 TMEA Clinic/Convention
FEBRUARY 12–15 • SAN ANTONIO • HENRY B.
GONZ ÁLEZ CONVENTION CENTER
DEADLINES
• January 14: Hotel cancellation deadline (no penalty).
• January 16: Last day for early registration (details below on paying by check/PO).
• January 17–February 15: Registration fees increase (online or onsite payment):
• Active members: $95
• Out-of-state attendee: $170
• January 22: Last day to utilize the TMEA housing reservation system to book a hotel.
EARLY REGISTRATION FEES
• Active TMEA members*: $70
• Retired TMEA members*: $20
• College Student members*: $0 (still must register)
• Out-of-state attendees: $145
• Upper-level school administrators: $0
• Non-music educator family badges: $15
• Wednesday Technology Preconference: $50
*Membership must be current.
Must Pay by Check or Purchase Order? Don’t Wait!
Mail can take multiple weeks to arrive at the TMEA office. If paying by check or purchase order, please wait no longer! Download the form from www.tmea.org/registrationform.
• If your check is not postmarked by January 16, you must pay the higher fee shown above to register and receive a badge—either online by credit card or at the convention with another check.
• All purchase orders must be received via email (to susand@tmea.org) by January 16 to be honored for convention registration.
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B.M. in Music Education
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M.M. in Conducting
M.M. in Performance
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M.M. in Music Composition
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M.M. in Theory Pedagogy
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Study with Dallas Symphony Orchestra Faculty at SMU
SMU Auditions 2024-25: December 7, February 1, February 8 & February 22
Our SMU Meadows Division of Music students do it all— start their own ensembles and companies, perform on and off campus, win commissions for new works, and more, all under the guidance of faculty members who are symphony principals, international concert artists, composers, recording artists, authors and researchers. At SMU Meadows many students double major, study abroad and make a difference in the world. Learn more at smu.edu/music.
SOUND IDEAS
ORCHESTRA: KEYS TO SUPPORTING STUDENT SUCCESS
By Jan Garverick
Across my fifty years of public-school teaching, I made several personal discoveries that encouraged student success in orchestra. Mine was a journey of problemsolving, through trial and error, asking and listening to colleagues, attending workshops around the world, and studying research. The search for new approaches is never-ending. We must learn as we share our art—the art of string teaching.
Develop an efficient pace for delivery of instruction. How do you know what your pace is? Listen to yourself: record your rehearsals; analyze your language and sentence structure as you deliver information; examine pauses in delivery, score reading, and adhering to the daily prepared agenda. Critique the video, calculating how much time was used by verbal fillers (like um and so), score review, or searches for missing music. Practice removing filler words and get to the action. Observe the pacing of other directors’ rehearsals and have colleagues observe and critique yours. You might find that you have been carelessly losing five to eight minutes. Any gap in pace invites discipline problems and student disengagement. Rehearsals must move at a steady pace. To maintain an effective pace, be prepared for each class (and always have a Plan B). Talk less; play more. While it may be cliché, it’s still true that by failing to plan, we are planning to fail.
Guide student practice. The integration of Global Positioning System (GPS) technology into cell phones began in 1999, paving the way for countless advancements. Just as GPS helps you find your favorite lunch spot, an Orchestra GPS (Guided Practice Schedule) directs students on which specific measures to focus for playing tests and upcoming concerts or audition preparations. For example, to determine your GPS timeline, count back four weeks from an April concert date and distribute your GPS material at that time. The director examines three concert pieces for musical challenges. Design a GPS page with the date, name of each piece, metronome marking goal, practice passages with measure numbers, and the grading rubric. Choose several passages from each piece for each instrument. These are the only measures for testing. Start with longer passages, and then reduce measures required for the actual GPS test.
The GPS page also includes the test date, sectional dates, concert date/time/uniform. Give students a copy, post it on the website, email it to parents, and post it in the orchestra room. No one can claim they weren’t informed. The GPS can be a fair evaluative process because it provides an upfront, specific guide for practicing
and empowers students to accept responsibility for their learning. I consistently experienced success with using the GPS tool in my orchestras. Technology gives us many options for digital tests today. I also encourage live GPS tests in front of the class period or during sectionals. The GPS Rubric could also cover posture, bowing, instrument position, bowing techniques, etc. (Occasionally, a student’s test video was important to share during a parent conference.)
Keep learning. Continue to broaden and deepen your teaching resources to stay on the cutting edge of pedagogy, repertoire, string resources, and string research. Attending the TMEA and TODA conventions is essential. Don’t simply attend. Propose a clinic and volunteer to help. Get involved in your state associations. Reach further to the national conventions and organizations as well. Summer string workshops offer great opportunities to meet other orchestra directors and composers, hear orchestra concerts, and exchange new ideas in all areas of string teaching. Read music journals and listen to podcasts. Keep asking, learning, and sharing. In 1987, Elizabeth A. H. Green remarked that “a teacher needs no longer to be poorly informed about what is feasible on violin, viola, cello, or bass.” In 2025, we have innumerable resources, especially through technology. Be curious. Are you using the many resources we have at our fingertips?
Provide outside opportunities for orchestra students. Develop leadership through officer positions and peer tutoring. Work with elementary/middle school strings, and travel in state, out of state, and even internationally. Urge students to participate in the community. String quartets and string ensembles are perfect for weddings, receptions, social events, etc. Finding appropriate music will take teacher time, but it’s time well-spent for student success in sharing talent and music with others. Music is meant to be shared, and most students are unaware of the many possibilities. It’s important to consider that a student may decide to become a teacher because of these experiences in service to others and because they witnessed your passion as an orchestra director. The teacher must show the way—and the orchestra culture will flourish even beyond the rehearsal hall. 0
Jan Garverick retired in 2023, following a 50-year career as an orchestra director. She continues to teach elementary strings in Alamo Heights ISD in San Antonio.
ORCHESTRA DIVISION
JENNIFER MARTIN, STATE VICE-PRESIDENT
What we surround ourselves with has the power to influence and change our outlook, feelings, emotions, and overall attitudes and mood.
What’s
on Your FYP?
When TikTok and Instagram reels came on the scene, I resisted the temptation of watching them for a while— I didn’t want or need another distraction to waste away my time. I did eventually jump in to see what it was all about, and while I did find some fun content out there, I also found it easy to spend too much time watching. It’s also a challenge as a parent to help my kids keep their time usage in balance and to make sure they aren’t filling themselves with negative and harmful content or too much fluff.
Some social media platforms use algorithms that, in part, factor in your past interactions and engagement with the content—what you watch, skip, and like—to populate your feed with short videos that display as you scroll through. It’s often called your For You Page or FYP. This is a departure from previous models, when your feed was more closely tied to the people on your friend list and their posts.
When you create a new account, it is a blank slate. When I started mine, I was instantly turned off as the videos presented to me weren’t anything I would want to spend my time watching. It is fascinating (if not a little terrifying) how your FYP can be curated to become a personalized menu that responds to your interests and personality. My oldest child peered over my scrolling once and said, “Oh my
MARK YOUR
CALENDAR
check www.tmea .org for updates
January—Renew membership, purchase liability insurance, register for the convention.
January 14— Last day to cancel a reservation booked through TMEA without a fee.
January 16—TMEA convention early registration deadline.
January 22— Last day to utilize the TMEA housing reservation system to book a hotel.
February 12–15—TMEA Clinic/Convention in San Antonio.
February 13, 8:00 a.m.—TMEA General Session in Lila Cockrell Theatre.
February 13–14, 6 p.m. CT— Electronic voting for TMEA Executive Board positions.
February 13, 5:15 p.m.— Orchestra Division business meeting at the convention.
February 14, 5:15 p.m.—TMEA Region meetings at the convention.
BAYLOR UNIVERSITY SCHOOL OF MUSIC
Where heart, mind and soul coalesce.
Baylor Presentations/Performances at TMEA 2025
Thursday, February 13
MICHELE HENRY, Ph.D.
Professor of Music Education College Division Research Committee: “Conversations on Research and Higher Education”
10–11 a.m., Marriott RW Salon D
KIMBERLY MONZÓN, D.M.A.
Assistant Professor of Voice with graduate student Alissa Ruth Suver (M.M. ’25) “Crossing Octaves: Empowering Trebles to Teach Tenors/ Basses”
10–11 a.m., CC Stars at Night Ballroom 1
REGINAL WRIGHT, M.M.
Lecturer of Choral Music Ensembles
Composition world premiere of “We are Infinity” performed by Shadow Creek High School Tenor Bass Choir; Jennifer Gallagher and Frankie Espinoza, directors
7-7:30 p.m., Stars at Night Ballroom
Friday, February 14
REGINAL WRIGHT, M.M.
Lecturer of Choral Music Ensembles
Composition world premiere of “I’ll Be in Your Heart” performed by Smithfield Middle School Tenor Bass Choir; Jennie Crawford, director
10–10:30 a.m., Stars at Night Ballroom
For more information: music.baylor.edu or Music_Admissions@baylor.edu
with Amy Simmons and John Denis “New Requirements for Cooperating Teachers/Field Supervisors”
4–5 p.m., CC 206
REGINAL WRIGHT, M.M.
Lecturer of Choral Music Ensembles
Composition/arrangement of “Mai” by Mereion Williams arranged for SSA Choir. Performed by the Benbrook High School Treble Choir; Emily Saenz, director
7–7:30 p.m., Stars at Night Ballroom
BAYLOR ALUMNI RECEPTION
9:30–11:30 p.m.
The Briscoe Western Art Museum, River View Room
Saturday, February 15
ERIC WILSON, D.M.A.
Professor of Conducting, Director of Bands
Conductor, ATSSB All-State Symphonic Band
10:15–11:05 a.m., Lila Cockrell Theatre
To learn more about the audition process, scan the QR code, then choose your instrument/area of study.
gosh—are you on TeacherTok?” I hadn’t heard that term yet, but it simply means my FYP has a lot of videos from teachers and education content (no surprise there).
I saw a comedic reel once that said something like “I am responsible for my FYP.” It
was meant in a light-hearted manner, but it’s so true! What am I allowing (inviting) into my brain/psyche? Am I filling myself with negativity or inane, superficial content? What goes in will eventually come out. What we surround ourselves with has the
Instruments Accessories Rental Repair
power to influence and change our outlook, feelings, emotions, and overall attitudes and mood. When things get tough, it’s even more important to make choices to surround ourselves with positive people, experiences, thoughts, and content. While we can’t completely ignore all the negative influences, experiences, or people we encounter in our days, we can shift our algorithm to favor what we do choose to immerse ourselves in. Make a point to take in experiences that are positive and meaningful and surround yourself with beauty. This applies to our social media usage, but it also applies to our work and life in general. Listen to your favorite music, read a good book, play your instruments for fun, practice a secondary or new instrument, or have a conversation with a good friend. Make a point to spend time each day detached from any screen. Surround yourself with people who build you and others up and limit your time with those who do the opposite.
Considering this also makes me think about what type of influence I am on others. I don’t want to drag others down, but instead lift them up! I once had the
incredible opportunity to play in an orchestra that had Yo-Yo Ma as the soloist. His musicianship and talent are incomparable! At the break of the dress rehearsal, he was free to go as the second half was for the orchestra only, but he graciously stayed and took pictures and shook hands with the musicians. Beyond his incredible musical talent, he took the time to leave everyone feeling valued, seen, and inspired in just a short time with him. May we strive to treat our students and colleagues with that same encouragement!
TMEA CONVENTION UPDATES
from different parts of the state returning like we had prior to the pandemic.
Congratulations to the finalists listed below and to Plano West Senior HS on being named this year’s High School String Honor Orchestra! Read on to learn more about the Plano West Orchestra and our Invited High School Mariachi and Invited University Orchestra.
PLANO WEST CHAMBER ORCHESTRA (PLANO ISD)
For Music Educators
With our annual convention just one month away, I hope you are anticipating another positive experience, surrounded by music educators and musicians who share your passion for music and music education. This year’s convention has so much to offer for all attendees, especially the Orchestra Division! Here are a few special clinic highlights: you have four opportunities to learn from our Featured Clinician Charles Laux; Larry Livingston’s conducting workshop clinic is a wonderful opportunity for all; and Sandra Dackow’s clinic on developing powerful tone is sure to inspire. I also encourage you to support the second year of our Invited Spotlight Clinic/Concerts. Every time block is filled with great clinic and performance choices!
Be sure to download the 2025 TMEA convention app from your app store (planned for release early this month). Be sure to review the helpful tips at www.tmea.org/2025app. Starting February 1, you can download handouts that were provided on schedule. You might find this to be easier from your desktop/laptop, utilizing the web app available on that same mobile app information webpage.
HIGH SCHOOL STRING HONOR ORCHESTRA
The High School String Honor Orchestra competition is always thrilling. The variety of repertoire and the level of performance and musicality is stunning. I am also excited and encouraged to see entries
The Plano West Chamber Orchestra strives to create a culture where students develop a lifelong love for music and high standards of excellence in performance. Plano West hosts one of the most accomplished programs in America, serving approximately 200 students across six orchestras. Recognized as a TMEA Honor Orchestra ten times, the orchestra has also twice performed at the Midwest Clinic and won national honors, including Mark of Excellence and the American Prize. The entire program consistently receives sweepstakes awards at UIL evaluation. Plano West is fed by Jasper and Shepton High Schools, which are in turn fed by Rice, Robinson, Renner, and Frankford Middle Schools. Directors Ryan Ross and Amy Gross lead the program, ensuring its continued success and growth.
MCALLEN HS MARIACHI ORO (MCALLEN ISD)
Under the direction of Alex Treviño, McAllen HS Mariachi Oro is a vibrant group of talented musicians whose
Mike Lunney Derrick Killam
Helping other Music Educators learn from our mistakes! No need to reinvent the wheel, Mike has been there and done that. Just ask Mike!
beautiful music has captivated audiences across the U.S. and internationally. With their masterful execution of traditional, classical, and contemporary arrangements alike, they have set the gold standard for mariachi music education throughout the years! They have captured seven state championships in the 5A/6A Divisions as well as Grand Champion titles, top three National Titles, several National Vocal Championship Titles, and, most recently, the 2024 Galardones International Award for Best Youth Mariachi Music Program.
Additionally, they’ve had great representation in TMEA Region, Area, and All-State auditions every year and have earned consistent UIL Division 1 ratings and Outstanding Performer medals at the regional and state levels. ¡Que Viva El Mariachi!
UNIVERSITY OF NORTH TEXAS SYMPHONY ORCHESTRA
The University of North Texas Symphony Orchestra has presented concerts for nearly 90 years. During this time, the orchestra
has had only seven regular conductors. Since 2008, the 80-member ensemble, drawn from the finest musicians attending the College of Music, has been under the direction of Professor and Director of Orchestral Studies, David Itkin. 0
Jennifer Martin is the Orchestra/ Mariachi Specialist at Fort Worth ISD. orchestravp@tmea.org
Plano West Chamber Orchestra
McAllen HS Mariachi Oro
Univ of North Texas Symphony Orchestra
Revitalize Your Warmup Routine Using an Ecological Dynamics Approach
By Lisa M. Burrell
Whether you are practicing on your own or working with a group of students, there is a good chance that you have adopted a warmup routine. Traditionally, warmups include drill-like exercises that feature repetition to hone a set of skills with the goal of creating automaticity.
Have you ever considered the relationship between the kinds of warmups you do and their impact on long-term learning and performance? Movement scientists who study complex skill acquisition are finding that performers who replace conventional repetitive routines with more variation are better equipped for long-term transfer of learning and are more adaptable when faced with challenges in performance. Adding flexibility and variety to your warmup strategies can improve self-regulation, prepare your students to problem-solve effectively, and enhance their ability to listen closely, both to themselves and within an ensemble.
STEPPING AWAY FROM BRAIN-MACHINE MODELS IN PERFORMANCE SCIENCE
The connectedness between warmups, practice, and performance has been a focal point in sports science research over the last thirty years in an approach known as Ecological Dynamics.1 This research is changing the way coaches and trainers structure warmups and subsequent practice and is improving athletes’ preparedness in competitive performance settings. Ecological Dynamics proponents point out that drill-type routines that isolate skills and employ rote-repetition to build automaticity are the products of technology-influenced theories of brain function that became popular as arms manufacturing took center stage after the Second World War.2 These concepts, which are still influential in our approaches to practice and teaching, give us the impression that our brains are machines that need to be programmed and fine-tuned to produce and replicate perfect models of technique.
AUTOMATICITY VERSUS DEXTERITY
Soviet neurophysiologist Nikolai Bernstein (1896–1966) was one of the first motor-learning specialists to challenge the validity of the programmable brain, arguing not only that human brains were far more complex than machines, but also that human learning was dependent on the adaptation and evolution that takes place as each individual human interacts with their environment. His work showed that skills become more stable not when they are repeated or “perfected” but rather when they are subject to continuous variations that force performers to adapt to changes in self and circumstance. The act of continual problem-solving using what Bernstein called “repetition-without-repetition” creates dexterity, or the ability to make optimal choices as challenges arise.3
TOOLS FOR DEVELOPING DEXTERITY: AFFORDANCES AND CONSTRAINTS
Ecological Dynamics uses Bernstein’s principles to help coaches construct practice scenarios through which players can develop dexterity. Two important pedagogical applications of Ecological Dynamics are teaching players to perceive affordances and using constraints to illuminate new affordance possibilities. The term affordance refers to an opportunity to act. Individual affordances can vary based on physiological factors (height, weight, strength, range of motion, etc.), developmental status, learning background, and various psychosocial traits. Tasks also have different affordances that might depend on variations in the equipment being used and changes in the specific application of that task. Finally, varied environments create new affordances (temperature/humidity, group size, practice versus competition, etc.).
To give this a tangible context, consider two violinists performing a spiccato bow stroke. Do they have the same affordances? They will probably perform in slightly different parts of the bow, with different degrees of bounce, different angles, and different
amounts of flexibility in the arm/hand/wrist/fingers, depending on personal body mechanics, degrees of development, equipment (strings, violin angle, amount of rosin), degrees of humidity, acoustics, and an infinite range of other factors.
Since affordances are both complex and constantly evolving, Ecological Dynamics coaches impose new constraints in each practice task to help direct the players’ discovery, particularly when a set of opportunities exist but are not yet perceived. To highlight various affordances in the above scenario, students could be asked to attempt to reproduce the same spiccato sound in different parts of the bow, or at different speeds, or with different weight/balance relationships by holding the bow at different distances away from the frog, or even holding the bow at the “wrong” end of the stick.
ECOLOGICAL DYNAMICS IN YOUR CLASSROOM: WARMUP GUIDELINES
If you want to try some of these principles in your teaching, you do not need to start with a complete overhaul. Just making slight changes in your warmups can have a significant impact on the way your rehearsals proceed. Here are some ways to start:
Remember the connectedness of task–environment–individual in developing affordances.
• Bernstein’s repetition without repetition is perfect for applying to existing scale or drill sequences. Just use the exercises you do as a starting point and add new constraints to each task to develop students’ perception skills.
▶ Change the rhythm to suit something you will later explore in repertoire.
▶ Change the octave, transposition, or fingering so that students’ attention will be drawn to the sound of the melodic pattern.
▶ Change the articulation to mimic various vocal sounds or other instruments in the orchestra.
• Change the environment in which the task is performed.
▶ Reorganize the classroom setup so that different ranges of instruments/voice are side by side.
▶ Sit or stand in a circle, facing away from each other to heighten listening skills.
▶ Change the acoustic environment: go into the hallway or the auditorium, or send small groups of different instruments into a practice room.
• Use constraints that draw attention to personal affordances.
▶ Do the warmup with one eye closed, then close the other.
▶ Do it standing on one leg or sitting on one sit bone.
▶ Do it with a beanbag on your head.
As you gain comfort in creating warmup variations, look for activities that are perception-based rather than conception-based. Other than explaining the rules of the new variation, minimize use of verbal instruction.
• Encourage students to use their ears to adapt to new systems of intonation:
▶ Play or sing scales with keyboard accompaniment for equal temperament.
▶ Play a tonic drone to hear how to adjust harmonically.
▶ Listen to ringing tones (strings) or a Pythagorean pitch generator to adapt to more melodic tuning.
• Incorporate sight-centered activities:
▶ Choose students to be movement leaders.
▶ Conduct students through warmups and change tempi as they play.
▶ Focus visual attention on parts of the bow or places on the instrument.
▶ Create cues to signal students to alternate between reading warmup material, watching a conductor, watching a section leader, and looking at students in another section.
• Help students develop proprioception and kinesthetic sense by redirecting attention:
▶ Where is the top of your head when you are playing this? Your nose? The back of your head?
▶ Move from one sit bone to the other as you play each half note. Do you prefer to move R–L or L–R?
▶ Target-practice difficult intervals by deliberately overshooting or undershooting them, getting closer to the target with each intentional miss.
▶ Squeeze your fist, toes, or teeth together while you play or sing. Squeeze your toes, but not your fists. Squeeze your right fist and left toes.
Look at learning as nonlinear. Teach things out of order and follow your own and your students’ interests and curiosity in creating new affordances.
• Teach them how to individually self-regulate:
▶ String players can use sticky notes to mark places in the bow where they most often play—avoid the sticky spots!
▶ Choose your own octave.
▶ Choose your own fingering.
▶ Improvise a variation.
• Explore safe uncertainty—another concept in Ecological Dynamics—which encourages early and safe experimentation with more advanced functions:
▶ Bouncing bows and vibrato movements for beginning string players.
▶ Variations on uses of breath for singers and wind players.
▶ Fun challenges with extended techniques for effect.
• Encourage student-led variations:
▶ Student-composed rhythms: students say or clap rhythms that mimic words or names and work together to notate and perform on their instruments.
▶ Bingo-style missing notes: choosing a note, like the tonic or one that is frequently out of tune, to audiate or sing rather than play.
▶ Students choose an advanced technique they want to try; you find the safe variations they can begin to explore.
Keep your focus on long-term transfer of learning. Demonstrate how the adaption of skills versus the perfection of skills is what
creates dexterity in performance.
• Create puzzles that will guarantee mistakes:
▶ Deliberately play a variation the “wrong” way.
▶ Add complex multitasking—can you count, sing, or say the Pledge of Allegiance while you play?
▶ Work in groups to decipher a complicated new rhythm.
• Use techniques you will need in your repertoire, but show how these techniques can vary:
▶ Play the same rhythm in widely different tempi or in different meters.
▶ Play a new articulation in different dynamic contexts.
▶ Play/sing crescendi and diminuendi over several beats starting with small subdivisions of theses beats, and then increase the lengths of the notes until these inflections happen over single multi-beat notes.
• Show the evolution of fundamental learning:
▶ In the beginning you had one way to play staccato. How many ways can you interpret staccato at this speed today?
▶ When you first started, you might have learned to keep all your fingers down. Now you have a choice about where this technique is helpful and where it might get in the way.
▶ Intonation is more challenging now because you have the ears to adapt and adjust, but now you also have the agility to change pitch when your pitch doesn’t fit the context.
INTERESTED IN LEARNING MORE?
I created a structured warmup matrix process that you can use to develop a set of novel variations tailored to your classroom and lesson needs. You can print a PDF of a basic matrix form and access a set of directions and sample matrices I have used in teaching string players. I also compiled a list of bibliographic material with highlights on articles and websites I find to be user-friendly for delving into Ecological Dynamics strategies. For these resources go to www.tmea.org/burrell2025.
Finally, please contact me at Lisa.M.Burrell@lonestar.edu to share your experiences and ask any questions that arise. 0
Dr. Lisa M. Burrell is on the Violin/Viola Faculty at Lone Star College-Montgomery.
REFERENCES
1. Chow, J.Y., Davids, K., Button, C., & Renshaw, I. (2021). Nonlinear Pedagogy in Skill Acquisition: An Introduction (2nd ed.). Routledge. https://doi.org/10.4324/9781003247456
2. Anson G, Elliott D, Davids K. Information processing and constraints-based views of skill acquisition: divergent or complementary? Motor Control. 2005 Jul;9(3):217-41. doi: 10.1123/ mcj.9.3.217. PMID: 16239714.
3. Bernstein, N. A. Dexterity and Its Development. Edited by Mark L. Latash and Michael T. Turvey, L. Erlbaum Associates, 1996.
SOUND IDEAS
VOCAL: PROGRAMMING REPERTOIRE FOR THE STUDENTS
By Sean Rodriguez
Last school year was my fifth at Legacy HS in San Antonio, which is reported to be 90% economically disadvantaged and 95% Hispanic. Choral music as a fine arts credit is a recent addition at this school. Our choir is less than a decade old, and as much as I focused in my first years on calls to excellence within the program, we weren’t reaching our full potential. To better connect with the students and our community, I shifted from programming works I wanted to perform to programming for the students. What follows describes how that shift has helped our choir grow.
COMMUNITY ENGAGEMENT
San Antonio’s missions are part of the city’s rich cultural heritage. While they aren’t in our district boundaries, many of our students have their quinceañera, prom, and senior pictures taken on the grounds of these beautiful spaces. Given the community’s deep connection to these historic missions, we presented an annual holiday concert, in collaboration with the second high school in our district, at the gorgeous Mission Concepción on the south side of San Antonio. Through this concert, we promoted a food drive to benefit the parish’s food pantry. This was a great step in reaching out to a local church and building connections to the neighborhood community who may not have experienced high school choral music like this before. After the concert, several community members expressed their appreciation and admiration of the quality of the concert. We wouldn’t have had this experience had we not left our campus and ventured into the community.
CULTURAL APPRECIATION
For this concert, I programmed Los Peces en el Rio, a traditional villancico with roots in the Mexican/Hispanic Catholic community. If you’ve tried to program Spanish-language music before, you may have found it challenging to obtain arrangements that
don’t compromise the linguistic integrity of the song. After a deep dive on YouTube, I found an arranger based in Colombia named Gabriel Andres Rodriguez Zuluaga. He had created a beautiful arrangement of this song for his choir. After reaching out, he graciously offered the piece to me for the students to perform at Mission Concepción—a stylistically appropriate arrangement performed in a beautiful space just as the arranger had intended. It was a huge hit with the kids and well received by parents and members of the church. Through this concert I learned that some students had been a part of the Spanish choir at this church with their families. What a way to connect with their culture!
HONORING OUR TRADITION
Lastly, I stopped trying to program those pieces—the ones performed by programs with no fewer than 200 students, two fulltime directors, private voice teachers, and students who can easily attend rehearsals outside the school day. While I teach highly capable students who are continuing to grow, we would not have experienced success with those pieces, especially as the students are just learning about choral music in general. I had to program pieces that would resonate with them. For now, that might mean an Eric Whitacre composition is off the table and that Spirituals, as much as I love them, might not be the best repertoire to reach my students. I have realized that creating the tradition of excellence within my program will look different than someone else’s. More importantly, I’ve realized that’s okay.
As you begin selecting your pieces for this UIL season, ask yourself whether you are programming for yourself or your students. We can all recall that formidable musical experience that shaped us into the musicians we are today and sparked our love for choral music. Are we trying to program the music that can do the same for our students and their longevity as choral musicians, or are we trying to program for ourselves? I challenge you to program for your students and see what happens as you prepare for this UIL assessment season. 0
Sean Rodriguez is the Choir Director at Southwest Legacy HS (Southwest ISD).
VOCAL DIVISION
JOSHUA MCGUIRE, STATE VICE-PRESIDENT
There isn’t a choir director who doesn’t think they need more time. Be intentional and plan with purpose to gain the most out of the limited rehearsal time with your students.
Intentionality in Choir Warmups
As a newly elected TMEA Vice-President in 2023, my initial magazine column focused on a return to basics in the choral rehearsal. Many of our secondary campuses, mine included, were still finding their footing in the wake of the pandemic. Almost two years later, music literacy remains a needed focal point as we all continue to experience gaps in student learning and application of basic musicianship.
This focal point impacts how I begin my rehearsal each day—in other words, the choir warmup. Over the course of my 25-year career, I’ve been guilty of the following choral warmup pitfalls: I used only the warmup exercises my choir director led our choir in. Exercises I incorporated were only those I could play on the piano. Warmup exercises used by my early ensembles were fun, but they weren’t always relevant. As a solo director, I would do the same exercises each day, so I didn’t have to plan as much. And in my early years, I did the same thing day after day because I just didn’t know what else to do. Today, my 10–15 minutes in warmup is intentional and planned to support a more efficient rehearsal to follow.
Dr. James Jordan, author of Evoking Sound: The Choral Warm-Up, incorporates fourteen pedagogical cardinal rules in his presentations. Because I am the primary voice teacher for most of our ensembles, the
In Memoriam
James Hare 1969–2024
Adam Hightower-Moreno 1985–2024
MARK YOUR CALENDAR
January—Renew membership, purchase liability insurance, register for the convention.
January 11—Area Vocal auditions.
January 14— Last day to cancel a reservation booked through TMEA without a fee.
January 16—TMEA convention early registration deadline.
January 22— Last day to utilize the TMEA housing reservation system to book a hotel.
February 12–15—TMEA Clinic/Convention in San Antonio.
February 13, 8:00 a.m.—TMEA General Session in Lila Cockrell Theatre.
February 13–14, 6 p.m. CT— Electronic voting for TMEA Executive Board positions.
February 13, 5:15 p.m.—Vocal Division business meeting at the convention.
February 14, 5:15 p.m.—TMEA Region meetings at the convention.
following rules by Dr. Jordan are always at the forefront of my brief warmup period, and referenced throughout the remainder of our rehearsal together:
1. Deconstruct posture brought to the rehearsal.
2. Realign and employ Body Mapping principles to reeducate the singers.
3. Create and reinforce awareness at all times.
4. Generate resonance.
5. Sing on the breath at all times.
6. Be certain all sounds are rhythmically vital.
7. Be certain all sounds are spacious, high, forward (SHF).
8. Reinforce pitch awareness.
9. Use a repeated exercise as “home.” Always use Core Vocal Exercises.
10. Use the same warmup sequence in planning each warmup.
As I typed this column, I had the honor of watching Dr. Marques Garrett from the University of North Texas rehearse
School of Music
November 16th, 2024
Voice and All Instruments excluding guitar and piano
January 25th, 2025
Voice and All Instruments excluding guitar, percussion and piano
February 1st, 2025
Voice and All Instruments excluding percussion and guitar
Fall 2024 Spring 2025 AUDITIONS
February 22nd, 2025
Voice and All Instruments excluding piano
March 1st, 2025
Voice and All Instruments excluding guitar and piano
April 12th, 2025
Voice and Percussion non-scholarship
the Region 24 Mixed Choir. My favorite moment of the Region Choir clinic and concert-day experience is watching master teachers vocalize, energize, and build ensemble with their choir. Dr. Garrett was a textbook example of intentional teaching. The 20-minute warmup at the start of the first rehearsal conveyed the rehearsal for the day. Focus was placed on warmup exercises using voiced consonants, ensemble balance, vowel sets other than English, and mixed-meter vocalises.
Once the choir began to run through their concert literature, Dr. Garrett’s plan for the day was realized. Every exercise was carefully planned to address aspects of each piece of literature the students would perform. From that moment, students knew their conductor was intentional in the day’s preparation. It was understood they would transfer the basic vocal and musical exercises from the brief warmup period to the literature.
As you return to your campus, think about how you begin your rehearsals. There isn’t a choir director who doesn’t think they need more time. Be intentional and plan with purpose to gain the most out of the limited rehearsal time with your students.
SMALL SCHOOL MIXED CHOIR’S 10TH YEAR
In 2010, the TMEA Executive Board began discussing how to meet the needs of small campus choral programs throughout the state and developing a path for more representation at the Region and state levels. Through careful discussion that included the stakeholders and lots of data collection, the Small School Mixed Choir was born. This year at the annual convention, TMEA will celebrate ten years of this exceptional ensemble. If you’ve never attended a performance of the TMEA All-State Small School Mixed Choir, please join the choir, under the direction of Dr. Sharon Paul, at 12:30 p.m., on Saturday, February 15, in the Stars at Night Ballroom. You don’t want to miss it!
ACDA NATIONAL CONFERENCE UPDATE
Following the January 11 Area Audition, when students are named to the Large School Mixed Choir, their TMEA sponsors will receive access to the TMEA IDs that students will use to update their record and print required forms. At that time, the TMEA sponsors will confirm
whether those LSMC students will participate in the National ACDA Conference encore performance. Sponsors, please note the email sent on November 1 containing all current information to date about the National ACDA Conference.
TMEA CONVENTION UPDATE
Only a few days remain until the early registration deadline of January 16. If you aren’t registered for the convention yet, take advantage of the discounted rate by doing so now! As we near the convention, I’m proud to introduce seven of our 2025 Invited Choirs (our other Invited Choirs were featured in November, available at www.tmea.org/november2024).
BONHAM MS ADVANCED MEN’S CHOIR (AMARILLO ISD)
The Bonham Advanced Men’s Choir consists of seventh and eighth graders who embody the essence of middle school boys. Brimming with energy and humor, they keep each other (and their director) on their toes. Despite their jovial nature, these young men epitomize the panhandle spirit, bonded by their determination and grit.
These tenors and basses are multi-talented individuals, excelling as athletes, mathletes, artists, student council members, instrumentalists in band and orchestra, theater enthusiasts, STEM explorers, and more. Their objective is to demonstrate to their school and community that singing is for everyone, and participation in choir not only enhances personal growth but also has the power to make a difference in the world. The choir is under the direction of Lizabeth Manfredi and Nakita Vickery.
CURTIS MS CANTARE CHOIR (ALLEN ISD)
The Curtis MS Cantare Choir is honored to perform at the 2025 TMEA Clinic/ Convention. Led by Kaylee Martinez and Leo Castro, Cantare represents a 7/8-grade campus of over 1,400 students and is celebrating 30 years of excellence. Cantare is made up of 70 extremely energetic and diverse young women. They are a committed group of students who rehearse after school several days a week and have received consistent superior ratings at contests and festivals. This is the first Allen ISD middle school choir to be a TMEA Invited Choir. Cantare is one of six choral ensem-
bles at Curtis MS, with over 320 students in the program. Members are active in all aspects of Curtis MS campus life.
DEER PARK HS CHORALE WOMEN (DEER PARK ISD)
The Deer Park HS Chorale Women are honored to perform at the 2025 TMEA Clinic/Convention. Representing a 6A campus with an enrollment of 4,060 students, this select varsity treble choir consists of the top 42 young women in grades 10–12 from a choral program of over 370. They are highly involved in other activities, including drill team, cheerleading, athletics, and theater. The ensemble has a long-standing tradition of choral excellence, including UIL Sweepstakes awards and convention performances at TMEA and National ACDA, and they are the Treble Honor Choir for the Celebration of Excellence 2025. The choir is under the direction of Anita Ladd, assisted by Ben Fahnders, Michael Grauvogl, Megan Montgomery, and Jamieson McCaffity.
THE WOODLANDS HS VARSITY TREBLE CHOIR (CONROE ISD)
The Varsity Treble Choir of The
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Bonham MS Advanced Men’s Choir
Curtis MS Cantare Choir
Deer Park HS Chorale Women
Marble Falls HS Chorale
The Woodlands HS Varsity Treble Choir
Coppell HS A Cappella Choir
Woodlands HS has a long-standing tradition of excellence. They are an auditioned group of dedicated 10th–12thgrade students who are also members of the A Capella Choir (Varsity Mixed). Members of the Varsity Treble Choir participate in band, theater, dance, athletics, color guard, Interact, student council, AFJROTC, and many other organizations at TWHS. The Varsity Treble Choir consistently earns superior ratings at UIL Concert & Sightreading assessment. Led by directors Patrick Newcomb, Melissa Newhouse, and Kameryn Zetterstrom, this team of talented, driven, and exceedingly kind students cannot wait to sing for the 2025 TMEA Clinic/Convention!
COPPELL HS A CAPPELLA CHOIR (COPPELL ISD)
The Coppell HS A Cappella Varsity Mixed Choir is a dynamic ensemble made up of talented sophomores, juniors, and seniors who share a passion for vocal excellence. Known for their versatility, the choir performs a diverse repertoire that reflects the varied backgrounds and musical influences of its members. Under the guidance of dedicated educators Bona Coogle and Aaron Coronado, the A Cappella choir consistently delivers performances that resonate with audiences, whether in competitive settings or community engagements. Their commitment to musical precision and emotional depth has earned them accolades and a reputation for excellence throughout the region. This 2025 TMEA Clinic/Convention performance marks another milestone in the choir’s journey, as they continue to inspire and uplift through the power of music.
MARBLE FALLS HS CHORALE
(MARBLE FALLS ISD)
The students and directors of the Marble Falls HS Chorale are excited by their invitation to perform at 2025 TMEA Clinic/ Convention. Located in the beautiful Texas Hill Country, MFHS is a Title 1 school and home to 1,125 students. The Chorale, under the direction of Bryce Gage and Clark Stanley, is the pride of the choral department, which houses seven ensembles. They are an active part of MFISD and the community of Marble Falls, where they perform regularly. A consistent UIL Sweepstakes award winner, the MFHS Chorale consistently places students in the Texas All-State Choirs. This ensemble has been honored to perform in the National
Cathedral, the White House, Coventry Cathedral of London, and at the Vatican.
TEXAS STATE CHORALE
Under the direction of Joey Martin, the Texas State Chorale is the premier choral ensemble at Texas State University. With a broad repertoire, ranging from chant to commissions with contemporary composers, this ensemble of 36 voices offers pieces from the vast choral canon and eagerly engages with prominent and emerging composers throughout the world. Through commitment to fostering a global perspective, TXST Chorale tours internationally
and has performed in prestigious venues in Austria, the Czech Republic, Hungary, South Africa, and China. TXST Chorale frequently performs for conferences including TMEA, SW Division of ACDA, national ACDA, and the International Kodály Festival. In November 2025, TXST Chorale joined TXST faculty artists for the premiere of a large-scale work by Jake Runestad. 0
Joshua McGuire is the Choir Director at Rock Hill HS (Prosper ISD). vocalvp@tmea.org
Texas State Chorale
SOUND IDEAS
ELEMENTARY: ESCAPE THE MUSIC ROOM
By Eric Hanson
One of the shared challenges for elementary music educators is inadequate time to teach our students. Most educators I know teach their students once a week for less than an hour, while others see their students even less—on a seven- or eight-day rotation. Throw in the unpredictability of a spring calendar packed with testing, field trips, and end-of-year events, and soon you realize how incredibly valuable each moment in the music room is for your young musicians. Furthermore, keeping upper elementary students engaged, especially toward the end of the year, can be especially challenging for even the most seasoned teacher.
Responding to these inherent challenges, I strove to find an activity where we could simultaneously review concepts in an efficient manner, engage upper elementary students, and provide real-time feedback on music literacy progress. Enter the music escape room! Escape rooms have become a popular activity for people who enjoy mental challenges. In most escape rooms, you are locked into a room and must solve a series of challenges and puzzles to escape. Through trial and error, online resource reviews, and collaborations with other educators, I developed a music escape room recipe for success. It has become one of the top activities for my students.
BEFORE THE ESCAPE ROOM
Before the big day, I make sure all preparations are complete. This includes copying all the colored clues and folding them up, hanging my hints and tips around the music room, hiding the padlocks and keys around the school with other educators (this is an optional step), and gathering pencils and a stopwatch.
Students will solve multiple clues in a specific order, so it is best to have the color-coded clues folded and mixed up before they walk in. I also create some slides with hints that I occasionally display on the board while student groups are working. After breaking out, students pose for fun photos that I later display.
MUSIC ESCAPE ROOM DAY
On the big day, I invite the students to class a few minutes early as the activity typically takes about 45 minutes to complete. Students are put into groups of four or five, and they pick up all needed supplies. I give them instructions for how the escape room works and specific rules about obtaining their next color clue. Each student group will get the white clue first, which includes an answer sheet to record all the colors in order. The white clue, when solved correctly, will lead to the pink clue, which leads to the blue clue, and so on.
Go to www.tmea.org/hanson2025 or scan this code for more information and to download sample music escape room materials.
One of the biggest tips I have for educators beginning escape rooms is to make your students check with you before they move on to the next color. Sometimes they will get the first letter and just fill in the blanks or see the group next to them figure it out and assume they can just move forward with the correct answer. If you require them to show all their work, they will have to demonstrate how they got their answers and why.
In my music escape room, one of the final clues leads them to another classroom in the school where they get a key and their last clue. When they solve that clue, they are taken to a second classroom where the educator has a ring of padlocks. Once their team brings me their completed color list, key, and padlock, I record their time of escape.
CONTENT REVIEW
In the escape room, each color clue allows me to do some quick assessment on where students are in multiple curricular areas. Rhythmic note values, instrument families, intervals, treble and bass clef identification, academic language, and more are covered in this activity.
When several groups struggle with the same concept, this becomes an area for which I will design more reviews before the end of the year. This activity also reveals the areas where students have succeeded with high mastery. For sample music escape room materials, go to www.tmea.org/hanson2025.
Engaging upper elementary students is no easy task, especially with our important end-of-year review, but music escape rooms can help. This will be one of the most talked about activities you host all year. Your students will get to review many areas of music literacy and content, and they will do it with excited smiles on their faces! 0
Eric Hanson is an Elementary Music Educator at Coppell ISD in Dallas.
ELEMENTARY DIVISION
CHRISTOPHER GILES, STATE VICE-PRESIDENT
As educators our legacy isn’t just in the songs our students perform, it’s in the confidence, curiosity, and independence they carry with them long after they leave our classrooms.
Building a Lifelong Love of Music
In the November 2024 issue of Southwestern Musician, I shared my thoughts on how students can continue their musical journeys through alignment concerts and events. As a companion to that content, what follows are my thoughts on how to continue to motivate students in music through building independence with intentionality. In the elementary music classroom, we have the unique opportunity to lay the groundwork for students to develop a lifelong relationship with music. Beyond performances and mastering musical techniques, our goal is to cultivate independent learners— students who are equipped with the confidence, curiosity, and skills to continue exploring music on their own.
But how do we take young learners who are starting to discover the joys of rhythm and melody and prepare them to become intrinsically motivated musicians? The key lies in blending foundational skillbuilding with opportunities for creativity, exploration, and ownership. Independent musicianship begins with a strong foundation in essential skills. Much like teaching a child to speak before they can read, we must first build our students’ musical vocabulary. This includes understanding basic rhythm patterns, reading notation, instrument techniques, and developing aural skills.
MARK YOUR CALENDAR
January—Renew membership, purchase liability insurance, register for the convention.
January 14— Last day to cancel a reservation booked through TMEA without a fee.
January 16—TMEA convention early registration deadline.
January 22— Last day to utilize the TMEA housing reservation system to book a hotel.
February 12–15—TMEA Clinic/Convention in San Antonio.
February 13, 8:00 a.m.—TMEA General Session in Lila Cockrell Theatre.
February 13–14, 6 p.m. CT— Electronic voting for TMEA Executive Board positions.
February 13, 5:15 p.m.— Elementary Division business meeting at the convention.
February 14, 5:15 p.m.—TMEA Region meetings at the convention.
For example, teaching students to recognize and reproduce simple rhythmic patterns empowers them to explore and create their own. You might start by having students clap a rhythm and then challenge them to “write” their version using rhythm sticks or performing it on body percussion. This small act of creating gives them a sense of ownership over their musical experience.
I try to introduce composition in an approachable way. First steps include the traditional “I do, we do, you do” format. This gradual release of instructions leads students to work in pairs, experimenting with notes on xylophones or recorders, and soon, they’re eagerly sharing their creations. While it’s structured, the emphasis is on exploration and decision-making.
Once foundational skills are in place, creativity takes center stage. Independent learners thrive when given opportunities to experiment and express themselves. Improvisation is one of the best tools for this.
For example, during a unit on the blues, I teach students a simple 12-bar blues progression and invite them to improvise on top of it using a variety of mediums such as Boomwhackers, xylophones, or a digital keyboard app. At first, there’s hesitation, but when students realize there’s no wrong way to play, they start to shine. One student told me, “It feels like I’m making my own music!” That’s the moment when independence begins to take root.
Self-assessment is another powerful tool. Encourage students to reflect on their musical choices. After a class performance or composition project ask questions like:
• What do you like most about your piece?
• If you could change one thing, what would it be?
• How did your group work together to make this happen? These reflections encourage students to see themselves as active participants in their learning rather than passive recipients of instruction.
PRACTICAL STRATEGIES
Student led projects: Provide opportunities for students to take the lead in their learning. For instance, assign a composer project, where students research a composer of their choice and share a short presentation complete with a musical example. This not only builds research and presentation skills but also connects students to the broader world of music.
Integrate technology: Digital tools can be a gateway to independence. Apps like GarageBand or Noteflight and websites like Chrome Music Lab allow students to experiment with composition in a modern, accessible way. A favorite project of my students is creating a short film score. They use ostinatos and the preloaded virtual instruments in Chrome Music Lab to compose music to match a short video clip assigned to them. It’s a blend of creativity, technology, and storytelling.
Cross-curricular connections: Music can bridge gaps between disciplines, helping students see its relevance beyond the classroom. For example, when studying fractions and ratios in math, students can use rhythm to visualize and feel the concept. Working on a history project? Let students compose a simple piece inspired by the era they’re studying or learn a dance from a country being presented. These projects give students a sense of music’s broader context and encourage them to think beyond the notes on the page.
Over the years, I’ve witnessed how these strategies lead to transformative moments for students. One former student, who started by improvising on classroom xylophones, eventually began creating her own songs at home using a keyboard app. Another joined middle school band and confidently led her peers in sectionals, citing her elementary music projects as the reason she felt comfortable taking charge. These stories remind us that the seeds we plant in elementary music grow in unexpected and beautiful ways.
Fostering independent musicians doesn’t mean reinventing your entire curriculum. It starts with small, intentional shifts:
• Add creative choices: Incorporate moments where students decide how
to play a piece or which instruments to use.
• Encourage reflection: Build time for self-assessment after lessons or performances.
• Experiment with technology: Explore apps and websites that align with your curriculum and let students create digitally.
• Collaborate: Work with classroom teachers to find cross-curricular connections that will make music relevant in new ways.
Most importantly, help students realize their musical journey doesn’t end when the class bell rings. By equipping them with skills, encouraging creativity, and celebrating their unique musical voices, we can help them discover that music is a lifelong companion.
As educators, our legacy isn’t just in the songs our students perform, it’s in the confidence, curiosity, and independence they carry with them long after they leave our classrooms.
TMEA CONVENTION UPDATE
The online early registration deadline of January 16 is near, so don’t hesitate to register to attend our amazing convention at the lowest rate! Go to www.tmea.org/ register for information and to register. With over 65 clinics and concerts hosted by the Elementary Division, you’ll leave with many new ideas and great inspiration to continue the year!
This month, I’m pleased to share information about our Elementary Division Invited Ensembles that will perform during our convention. Be sure to add these performances (and the ones I highlighted in the November issue) to your schedule. When you find these in the schedule, note that our division’s concerts are in the Stars at Night Ballroom, which is on the third floor in the convention center, easily accessed by a short walk from the Grand Hyatt to the center’s North Lobby.
JENKS ELEMENTARY SCHOOL CHOIR (KATY ISD)
May Dell Jenks Elementary School opened its doors in 2016. It quickly grew to be one of the largest elementary schools in Katy ISD. The “Jazzy Jags Choir” of Jenks Elementary has been under the direction of Mary White and Debra Herrera
since 2017, and they proudly welcomed Michael Cumo to the music department this school year. The choir consists of 110 non-auditioned fifth graders who practice two days a week before school. The staff and families of Jenks pride themselves on the cultural diversity of the school and the sense of community that has been built around that. The Jazzy Jags are excited to perform for TMEA members this year!
KELLER ISD 5TH/6TH GRADE HONOR CHOIR
Founded in 2014, the Keller Honor Choir (KHC) is an auditioned choir of fifth and sixth graders who rehearse weekly. Members of KHC participate in choir, show choir, band, and orchestra programs across the district. Since its inception, KHC has consistently earned superior ratings, Best in Class, and outstanding performance awards. In 2019, 2022, and 2023 KHC received Best in Class, Outstanding Performance, and the Best in Festival award at the Lone Star Music Festival in Dallas. KHC was invited to perform at the TMEA convention in 2017 and 2021 and is honored to be returning this year. KHC is directed by Theresa Pritchard, Lauren Garcia, and Sarah Holland and will be joined by several collaborative artists including pianist Marie Rogers.
RESONANCE, STEUBING RANCH ELEMENTARY SCHOOL (NORTH EAST ISD)
When director Analisa Byrd began working at Steubing Ranch Elementary School in 2011, there was a choir but no instrumental ensembles. From its inaugural year in 2012 to today, Resonance has grown in membership, skill, and breadth of literature. Resonance, an ensemble of third through fifth graders, learn music at home via videos and come to rehearsal to put the greatness together! Ukuleles and record-
ers, added six years ago, give students additional access to instruments. Resonance works hard and plays hard, attending community events and performing at the schools they feed (Harris MS, Bradley MS, and Madison HS), retirement homes, and Morgan’s Wonderland. Resonance, Mrs. Byrd, and co-director Melissa Trevino
are excited to perform at the TMEA 2025 Clinic/Convention! 0
Christopher Giles is a K–5 music specialist at Mireles Elementary (Northside ISD, San Antonio). elementaryvp@tmea.org
Keller ISD 5th/6th Grade Honor Choir
Jenks Elementary School Choir
Resonance, Steubing Ranch Elementary
Accessible Assessment in the Elementary Music Classroom
By Leigh Ann Garner
Elementary music educators have the unique opportunity to work with most, if not all, students within their school setting. While making music with such large and diverse groups is a joyful component of teaching elementary classroom music, it can pose many challenges when it comes to assessing student progress.
The first and most present obstacle lies within the logistics of effectively assessing student progress. Music teachers have limited student contact time and must balance this with the need to assess so many students. Besides logistical limitations, the goals for assessment set by school districts often do not align with the goals of music educators. “Assessment is a process of gathering information about what students can do, so that we can better understand their abilities and needs. This is often diametrically opposed to giving them a grade, which is often about ending the learning process and encapsulating student achievement at a specific point,” stated Marshall Haning, Associate Professor of Music Education at the University of Florida in Gainesville, in “A Call to Rethink Music Assessments,” published in the August 2024 issue of Teaching Music.
So, with the many challenges elementary music specialists encounter, how can assessment be a process where time, meeting the needs of all students, and the goals and outcomes of the process itself are maximized? The following is an overview of the types of assessments and their purposes, followed by practical strategies for implementation in the classroom.
FORMATIVE AND SUMMATIVE ASSESSMENTS
There are two types of assessment that often appear within a curricular framework: formative and summative. Formative assessment provides a brief snapshot of student progress as it takes place
within the instructional process. It informs the learner of their progress and the teacher on when to move ahead in the instructional sequence. Formative assessment often measures only one or two musical concepts or skills at a time. For example, a teacher might assess students’ pitch-matching skills while echo-singing a song.
Summative assessment is a more comprehensive process that often encompasses multiple formative assessments over time, as well as measuring multiple concepts and skills. In the elementary music classroom, summative assessments are usually project- and performance-based and measure progress over an extended period. An example of this could be students composing and performing simple melodies for barred instruments, essentially assessing literacy (rhythmic and melodic), aural, and mallet playing skills.
PRACTICAL STRATEGIES FOR ASSESSMENT
Set Clear Goals: Setting goals for assessing students begins with identifying the Music TEKS or other curricular requirements that will guide instructional practice. When beginning this process, it is often more manageable to select one or two standards and set goals for meeting them at all grade levels. In addition, it is important that the established goals align with expectations and goals of the school district. Lack of alignment will only create more work for teachers.
Align Formative Assessments with Goals for Summative Assessment: When implementing a more comprehensive summative assessment, the documented progress should encompass multiple formative assessments that occur throughout the process. Expanding on the previous example of the barred instrument composition, teachers could assess students at various checkpoints throughout the compositional process. Some examples might be
assessing progress when writing rhythm and melody, singing the created melody, culminating in playing their melody on barred instruments. All of these inform the teacher and student of the overall progress of creating the composition. Scaffolding formative assessments within a summative process not only saves time but also provides a richer narrative for the outcomes.
Create Clear Rubrics: Most of the time, elementary music educators are informally assessing students through observation during instruction. When the use of formal rubrics is warranted, teachers often must create them from scratch. Whether creating one rubric for a formative assessment or multiple rubrics for the summative process, it is imperative that the procedures and the progress scale accompanied by descriptors are clear. Procedures should be succinct and consistent for all students as this consistency helps maintain the integrity of the results.
Progress scales for the assessment can be represented by multiple iterations. Will
the scale be a simple yes or no or a number scale, such as 1–4? Will it list letter grades? Will descriptors such as proficient or emerging be utilized? Each progress indicator has a purpose, but the descriptors that define them must be succinct and clear and provide relevant feedback for the teacher and, most importantly, the student.
EFFICIENCY IS KEY
Elementary music teachers have the challenge of providing quality music instruction to large numbers of students with limited student contact time. Thus, balancing daily instruction with time for assessment can be tricky. If an assessment takes too long, student engagement will diminish, and many times the musicality of the experience diminishes as well.
Instead of assessing all students in the class in one class period, spread it out over multiple class periods. When assessing singing, for example, select repertoire that provides opportunities for solo singing and singing by the entire class. Limit the number of soloists to three or four per class period,
and then move onto other musical activities for the day. Assessing small groups of three or four students at a time also saves valuable instructional time.
How a teacher will efficiently record individual student progress also merits careful forethought and planning. An easy and accessible option would be to have a class seating chart on hand where the teacher can quickly record a score for each student, and then transfer data to individual student files. These charts can either be higher tech—set up on an iPad—or lower tech where the chart is in a plastic sleeve and scores are recorded with a dry-erase pen. To further maximize instruction time, record assessments with an iPad, allowing you the opportunity to view, evaluate, and record progress outside class time.
ASSESS THROUGH MUSICAL PLAY
The instructional process often follows a pattern where students are presented material, they experience and practice the material, and then time is set aside for a formal assessment or test. This teach to the test process is inefficient, lacks musical authenticity, and does not honor how young children develop as musicians. Thus, elementary music educators should create a setting where an assessment is threaded into musical play. For example, when teachers assess rhythm performance, this could be integrated within playing a singing game. As students are taking turns as leaders in the game, the leaders could create and tap four-beat rhythm patterns between each round. This formative process allows the teacher to assess multiple students while the entire class is engaged in active and authentic music-making.
Assessing so many students with so little time can seem daunting. However, tracking student progress is an integral and necessary part of the instructional process. When music teachers integrate assessment into daily lessons and do so maintaining musicality and student engagement, the narrative for progress is rich and informative for all involved. 0
Dr. Leigh Ann Garner is Assistant
Professor
and Coordinator of Music Education at St. Olaf College in
SOUND IDEAS
COLLEGE: PREPARING PRESERVICE TEACHERS
By Jacqueline C. Henninger
Undergraduate students decide to major in music education for varying reasons—to emulate an influential educator, to contribute to a field that instilled in them a love for music or teaching, and more. Regardless of their reasons, once students are accepted into an educator preparation program, university professors have a responsibility to provide them with the knowledge and skills that will enable them to secure a job and subsequently thrive as music educators. Consider these areas that should be addressed during their development:
MUSIC INSTRUCTION
Preservice teachers in music should take the necessary steps to positively transfer and apply instructional approaches and ideas explored in undergraduate courses into their teaching in the schools. This includes learning how to write lesson plans, provide learners with logically sequenced instruction, deliver a variety of feedback, lead students to the accomplishment of music goals, and incorporate culturally relevant pedagogy to generate a sense of belonging in the classroom. In addition to planning and preparing for a lesson, preservice teachers should also reflect on teaching and learning experiences at the conclusion of each lesson. Providing them with opportunities to develop and understand the value of a three-part process that includes planning, teaching, and reflecting should have a positive impact on teacher effectiveness and student learning. These instructional experiences will enable preservice teachers to be prepared to provide quality instruction to their students upon entering the profession.
PROFESSIONALISM
Preservice teachers should maintain a sense of professionalism regarding their behaviors and verbalizations. They should understand the importance of being punctual for all school-related events and demonstrate a willingness to work before and after school to offer instructional or administrative assistance to cooperating teachers and assigned campuses. Additionally, preservice teachers should dress professionally and in a manner that is consistent with their district/campus expectations. Of course, it is important to remain authentic to oneself when it comes to forms of self-expression (e.g., attire, hair, piercings, body art). However, as young professionals, it is also important to accomplish that in a manner consistent with the policies and procedures of the district and schools within which one is assigned to teach. These approaches should enable young teachers to effectively transition into professional settings.
ACTIVE ENGAGEMENT
Preservice teachers should also remain actively engaged with their field experience and student teaching placements by assisting their
cooperating teachers. Some forms of assistance might include completing administrative tasks, providing instruction to small groups, leading portions (if not all) of the lessons, and performing in ensembles to provide an accurate model for developing musicians to emulate. Preservice teachers can also demonstrate engagement by asking thoughtful questions of their cooperating teachers regarding class observations and teaching experiences. Through formulating and posing thoughtful questions, student teachers can expand their understanding of the teaching and learning of music, which will positively impact their educatorship as they prepare to enter the profession.
COMMUNICATION
Lastly, to effectively equip our preservice teachers to be most successful during their early days in the teaching profession, it is important they understand their new role, especially when communicating with parents/guardians, colleagues, students, and mentors. Preservice teachers should conduct themselves professionally in all contexts. They should remember that it is most appropriate to communicate with learners and their parents/ guardians via school email accounts and school/district-approved platforms (e.g., Remind, Band App, Google Classroom). Preservice teachers should be highly discouraged from communicating with music students via social media platforms or personal texting applications. The primary objective should be to maintain open lines of communication with university and public-school mentors. This will enable preservice teachers to grow professionally, musically, and pedagogically.
CONCLUSION
The undergraduate experience in music education can and should be educational, rewarding, and inspiring. If our preservice teachers enter this phase of their teacher development experience with a growth mindset, the experience should yield positive results. Therefore, I would recommend that preservice teachers work diligently to maintain a willingness to learn, ask thoughtful questions, serve as a positive model for the students with whom they get to work, and get to know the members of their school and local communities. Getting to know one’s students and their communities while also providing a positive representation of oneself and one’s institution should have a positive impact on preservice teachers as they prepare to enter the profession. 0
Dr. Jacqueline C. Henninger is Associate Director for Academic Studies & Affairs and Associate Professor of Music Education at Texas Tech University, School of Music.
COLLEGE DIVISION
CARTER BIGGERS, STATE VICE-PRESIDENT
Effective mentoring creates confident, independent educators who contribute meaningfully to their institutions and fields while maintaining sustainable, satisfying careers in music education.
Mentoring New Collegiate Educators
Ihope this edition of the Southwestern Musician finds you in great spirits as we enter the new year. I also hope you had a wonderful holiday season and are ready to hit the ground running in the new academic semester.
Over this break, I have been spending quite a bit of time reflecting on mentorship. I have many wonderful mentors in my life, as I am sure you do. These mentors are individuals who help shape who we are as educators. They inspire and guide us through so much.
Just as much as public-school teachers need mentoring, so do our colleagues in higher education. None need it more than those who are new to this role. New faculty are eager to learn and make a mark in their new positions, but they most certainly need helpful orientation beyond what is gained at new faculty meetings at the beginning of their appointment. That is where the mentor steps in.
Mentoring new collegiate music educators requires a delicate balance of guidance and empowerment, recognizing the unique challenges they face as they transition from graduate studies or professional performance into academia. The mentor’s role extends far beyond simply sharing teaching tips; it encompasses comprehensive long-term support in navigating the complex landscape of higher education.
MARK YOUR CALENDAR
January—Renew membership, purchase liability insurance, register for the convention.
January 14— Last day to cancel a reservation booked through TMEA without a fee.
January 16—TMEA convention early registration deadline.
January 22— Last day to utilize the TMEA housing reservation system to book a hotel.
February 12–15—TMEA Clinic/Convention in San Antonio.
February 13, 8:00 a.m.—TMEA General Session in Lila Cockrell Theatre.
February 13–14, 6 p.m. CT— Electronic voting for TMEA Executive Board positions.
February 13, 3:30 p.m.— College Division Research Poster Session.
February 13, 5:15 p.m.— College Division business meeting at the convention.
February 14, 5:15 p.m.—TMEA Region meetings at the convention.
SCHOLARSHIP AUDITIONS
Scholarships are available for both music and non-music majors. These awards are intended to provide recognition for scholarship and talent in the study of music.
SCHOLARSHIP AUDITION DATES:
Friday, February 21, 2025 1 - 3 p.m.
Saturday, March 29, 2025 1 - 3 p.m.
Saturday, April 12, 2025 1 - 3 p.m.
Individual audition dates may be requested if necessary.
For specific qualifications for each award, visit www.tlu.edu/music-scholarships.
TLU SCHOOL OF MUSIC
YEAR ONE
The first year of collegiate teaching often presents the most significant challenges. New faculty members must quickly adapt to institutional expectations while developing their teaching methodology and establishing a research agenda. Effective mentors begin by helping new educators understand the immediate priorities: course preparation, classroom management, and basic institutional procedures. Regular weekly meetings during the first semester provide crucial support for addressing urgent concerns and establishing a strong foundation.
Teaching development forms the cornerstone of early mentoring efforts. Experienced mentors help new faculty
design effective curricula, develop appropriate assessment strategies, and create engaging learning environments. This includes guidance in crafting comprehensive syllabi, selecting appropriate course materials, and integrating technology effectively into music instruction. Classroom observations followed by constructive feedback sessions help new faculty refine their teaching approaches and build confidence in their pedagogical decisions.
Research and creative activity require particular attention in the mentoring relationship. Many new faculty members struggle to balance teaching responsibilities with research expectations. Mentors play a crucial role in helping establish sustainable
TMEA Clinic/Convention
research agendas, identifying publication opportunities, and developing grant writing skills. They can also provide valuable insights into managing performance expectations and documenting creative activities for tenure requirements.
Professional navigation presents another critical area for mentoring support. Understanding tenure and promotion requirements, selecting appropriate service commitments, and building professional networks all require careful guidance. Mentors help new faculty make informed decisions about committee service, professional organization involvement, and conference participation. They also provide crucial insights into department dynamics and institutional culture.
YEAR TWO
The second year of mentoring typically shifts focus toward longer-term professional development. Monthly meetings replace weekly sessions, with attention turning to publication planning, grant writing, and leadership opportunities. Mentors help new faculty expand their professional networks, plan conference presentations, and refine their teaching portfolios. This period also presents opportunities for new faculty to begin developing their own mentoring skills through graduate student supervision. Personal support proves equally important as professional guidance. Effective mentors create safe spaces for new faculty to express concerns, ask questions, and seek advice about work–life balance. They share personal experiences, offer stress management strategies, and help build the confidence necessary for success in academia. This emotional support often makes the difference between simply surviving or thriving in the early years of collegiate teaching.
YEAR THREE (AND BEYOND)
The third year typically marks a transition toward greater independence, with mentoring sessions focusing on tenure preparation and long-term career planning. Quarterly progress reviews help ensure steady advancement toward professional goals while maintaining teaching excellence. Mentors guide new faculty in documenting achievements, planning research milestones, and developing leadership roles within their departments and professional organizations.
Texas Tech University School of Music TMEA 25
WEDNESDAY, FEB 12
TMEA ALL-STATE SECTIONALS
Featured Faculty: Richard Meek, Professor of Bassoon Christopher M. Smith, Professor of Horn Kevin Was, Professor of Tuba and Euphonium
THURSDAY, FEB 13
THE INTERNET IN THE MUSIC CLASSROOM: WHO HAS ACCESS?
Time: 1-2 PM
Location: Grand Hyatt, 4th Fl, Crockett AB
Clinician: Corey Sullivan, Assistant Professor of Choral Music Education
SIMPLIFYING TUBA AND EUPHONIUM TONE PRODUCTION AT ALL LEVELS
Time: 1-2 PM
Location: CC 217
Clinician: Kevin Wass, Professor of Tuba and Euphonium
COLLABORATING WITH YOUR SCHOOL DISTRICT’S MUSIC THERAPIST
Time: 1-2 pm
Location: Grand Hyatt, CC 205
Clinician: Elizabeth Chappell, Assistant Professor of String Music Education
In Collaboration: Della Molloy-Daugherty (Texas Woman’s University)
SYMPHONIC WIND ENSEMBLE
Time: TBD
Location: TBD
Conductor: Sarah McKoin, Director of Bands
In Collaboration: Aruna Quartet, TTU alumni, Gold medal and Grand Prize winner at the
FRIDAY, FEB 14
SUCCESS, CULTURE, AND WELL-BEING IN THE MUSIC CLASSROOM
Time: 10-11 am
Location: CC 207
Clinician: Joel Pagán, Assistant Professor of Music
TEXAS TECH HORN OCTET
Time: 12:30-1 pm
Location: CC NORTH LOBBY
Conductor: Christopher M. Smith, Professor of Horn
TEN MINUTES TO BETTER BRASS IN YOUR BAND
Time: 4-5 pm
Location: CC 214
Clinician: Julia Bell, Assistant Professor of Trumpet In Collaboration: Brian Walker
THIS IS TEXAS…A CASUAL CONVERSATION WITH SOME OF OUR FINEST CONDUCTORS
Time: 4-5 pm
Location: CC 217
Clinician: Sarah McKoin, Director of Bands In Collaboration: Jerry Junkin, University of Texas; Richard Floyd, retired; Eric Wilson, Baylor University; Caroline Beatty, Texas State University
COLLEGE NIGHT
Time: 5-8 pm
Location: Exhibit Hall 4
TEXAS TECH UNIVERSITY ALUMNI REUNION
Time: 9:30-11:30 pm
Location: TBD
SATURDAY, FEB 15
RECLAIMING THE JOY IN OUR MUSIC ENSEMBLES AND CLASSROOMS
Time: 11 am-12 pm
Location: CC 205
Clinician: Jacqueline Henninger, Associate Professor of Music Education; John Parsons, Assistant Professor of Music Education
NAFME-TEXAS ANNUAL MEMBERSHIP MEETING
Time and Location: TBA
Co-Clinicians: Corey Sullivan, Assistant Professor of Choral Music Education, Executive Board Member, Member-at-Large; Shauna Pickens, Assistant Professor of Music Education, Collegiate Chair
AUDITION DATES
Saturday, February 8, 2025
Saturday, February 22, 2025
Saturday, March 1, 2025
Recorded and remote auditions are available for select instruments.
Success in mentoring relationships can be measured through various metrics, including improvements in teaching effectiveness, research productivity, and professional confidence. Regular assessment of student evaluations, publication achievements, and grant success helps track progress. Also important are personal development indicators such as improved stress management, work–life balance, and professional satisfaction.
Institutional support plays a crucial role in successful mentoring programs. Departments must provide adequate resources, release time for mentors, and recognition of mentoring contributions. Clear program structures, documentation requirements, and assessment procedures help ensure consistency and effectiveness in mentoring relationships.
The goal of mentoring extends beyond simply helping new faculty survive their early years in academia. Effective mentoring creates confident, independent educators who contribute meaningfully to their
institutions and fields while maintaining sustainable, satisfying careers in music education. Through careful guidance, emotional support, and professional development opportunities, mentors help shape the next generation of collegiate music educators while ensuring the continued vitality of music education in higher education.
ATTEND THE TMEA CONVENTION
I look forward to seeing you in San Antonio next month for another incredible convention. If you haven’t already registered, take advantage of the early registration fees by registering by January 16. Current TMEA College Student members don’t pay a registration fee, but they still need to register to attend, ensuring a smooth badge pickup. To learn more and register, go to www.tmea.org/register.
When you download the convention app (www.tmea.org/2025app), make special note of some key events for all members, including the Wednesday 8 p.m. President’s Concert, featuring the Jason
Max Ferdinand Singers and Thursday morning’s General Session, with a keynote address by Celeste Headlee, awardwinning journalist and radio host, professional speaker, and author.
SUPPORT MUSIC EDUCATION DURING THE SESSION
Please also consider registering with the Texas Arts Education Campaign. The process is simple and at no cost. By registering, you will be a part of a growing community that encourages our state policymakers to keep fine arts education as an integral part of Texas public schools. With the start of a new legislative session, it could not be a more relevant time to be a part of such an important organization. To register simply go to www.txartsed.org/join-us. 0
Carter Biggers, DMA, is Director of Bands and Associate Professor of Music at Texas Woman’s University. collegevp@tmea.org
Bobby Francis conducts a performance in VCCH with the TCU Wind Symphony and TCU Mariachi Sangre Royal.
