September 2020 Southwestern Musician

SOUTHWESTERN MUSICIAN

SEPTEMBER 2020

SEPTEMBER 2020

Contents VOLUME 89 ■ ISSUE 2 ■ SEPTEMBER 2020

Features In Memoriam: Bryce Taylor . . . . . . . . . . . . . . . . . . . . . . 8 1962–1964 TMEA President

Dispelling the Myths of Teaching in a Title I School . . 14 Learn from experience what it’s like to teach in a Title I school and why you should consider it . [er i c j i m e n e z a n d j u s t i n m c l e a n]

Individualized Learning Experiences Completed Collaboratively . . . . . . . . . . . . . . . . . . . . . . 22 When we provide engaging individualized learning experiences that ensure collaboration, we will take online learning to the next level . [j o h n m ly n c z a k]

22

Caring for Others While Caring for Ourselves . . . . . . 30 As you focus on supporting your students and their well-being, remember daily to ask yourself what you need . [n at h a n l a n g f i t t]

Creativity in Crisis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36 As we try to figure out who we are in a world turned upside down, we can find power in possibility and discover a new kind of creativity . [b r i a n ba l m ag es]

Choosing Repertoire for the School Year . . . . . . . . . . 44 By taking time to plan an entire year of repertoire, we can provide richer and more diverse learning and performance opportunities . [j o n at h a n ta l b e r g]

Columns President’s Notes . . . . . . . . . 5 [br i a n

c o at n e y]

Executive Director’s Notes . .10 [r o b er t

f loy d]

Band Notes . . . . . . . . . . . . . 18

With the response to the COVID-19 pandemic ongoing, information printed in this issue is subject to change. For the latest updates, visit www.tmea.org and other relevant websites.

Updates

[da n a

p r a d e r va n d]

Orchestra Notes . . . . . . . . . 26 [m ic h a el

s t r i n g er]

Vocal Notes . . . . . . . . . . . . . 32 [j e d

r ag s da l e]

TMEA Scholarship Opportunities . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 You’re One Share Away from Effective Music Education Advocacy . . . . 4

Elementary Notes . . . . . . . . 38 [a b i g a i l

h aw es]

TMEA Clinic/Convention Status Update . . . . . . . . . . . . . . . . . . . . . . . . 13

College Notes . . . . . . . . . . . 46

on the cover

[pau l

s i k es]

Janelle Oviedo performs with the Aldine Orff Ensemble during the 2020 Clinic/Convention . Photo by Paul Denman .

Southwestern Musician | September 2020

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Editor-in-Chief: Robert Floyd rfloyd@tmea.org 512-452-0710, ext. 101

Managing Editor: Karen Cross kcross@tmea.org 512-452-0710, ext. 107

TMEA Executive Board President: Brian Coatney

Brian.Coatney@wylieisd.net 2550 West FM 544, Wylie, 75098 972-429-3111 – Wylie ISD

President-Elect: John Carroll

john.carroll@ectorcountyisd.org 1800 East 42nd Street, Odessa, 79762 432-553-2780 – Permian HS

Past-President: Joe Muñoz

munozj@pearlandisd.org 3775 South Main Street, Pearland, 77581 281-997-3219 – Pearland HS

Band Vice-President: Dana Pradervand

pradervandd@yahoo.com 8226 Lakeshore Villa Drive, Humble, 77346 713-743-3627 – University of Houston

Orchestra Vice-President: Michael Stringer

mstringe@aisd.net 1200 West Arkansas Lane (Annex 1), Arlington, 76013 682-867-7662 – Arlington ISD

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

TMEA is pleased to offer several scholarships each year for undergraduate and graduate study.

www.tmea.org/scholarships Graduating Senior Scholarships • Bill Cormack Scholarship: $3,000/year for up to five years.

• Past-Presidents Memorial Scholarship: $2,500/year for up to five years.

• Past-Presidents Scholarship: $2,500/year for up to five years.

• Executive Board Scholarship: $2,500/year for up to five years.

• One-year scholarships: $2,500 for one year only.

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

Vocal Vice-President: Jed Ragsdale

jedragsdale@tomballisd.net 19100 Northpointe Ridge Lane, Tomball, 77377 281-357-3230, ext. 1106 – Memorial HS

Elementary Vice-President: Abigail Hawes

abigail.hawes@cfisd.net 13734 Lakewood Forest Drive, Houston, 77070 281-370-4040 – Moore Elementary

College Vice-President: Paul Sikes

plsikes@txwes.edu 8554 Kensington Court, North Richland Hills, 76182 817-531-4971 – Texas Wesleyan University

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

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

TMEA Staff Executive Director: Robert Floyd | rfloyd@tmea.org Deputy Director: Frank Coachman | fcoachman@tmea.org Administrative Director: Kay Vanlandingham | kvanlandingham@tmea.org Advertising/Exhibits Manager: Zachary Gersch | zgersch@tmea.org Membership Manager: Susan Daugherty | susand@tmea.org Communications Manager: Karen Cross | kcross@tmea.org Financial Manager: Cristin Gaffney | cgaffney@tmea.org Information Technologist: Andrew Denman-Tidline | adenman@tmea.org Administrative Assistant: Rita Ellinger | rellinger@tmea.org

TMEA Office Mailing Address: P.O. Box 140465, Austin, 78714-0465 Physical Address: 7900 Centre Park Drive, Austin, 78754 Phone: 512-452-0710 Website: www.tmea.org Office Hours: Monday–Friday, 8:30 a.m.–4:30 p.m. (remotely via email)

Go to www.tmea.org/scholarships

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

Subscription rates: One Year – $20; Single copies $3.00. Periodical postage paid at Austin, TX, and additional mailing offices. POSTMASTER: Send address changes to Southwestern Musician, P.O. Box 140465, Austin, TX 78714-0465. Southwestern Musician was founded in 1915 by A.L. Harper. Renamed in 1934 and published by Dr. Clyde Jay Garrett. Published 1941–47 by Dr. Stella Owsley.

Incorporated in 1948 as National by Harlan-Bell P ­ ublishers, Inc. Published 1947–54 by Dr. H. Grady Harlan. Purchased in 1954 by D.O. Wiley. Texas Music Educator was founded in 1936 by Richard J. Dunn and given to the Texas Music Educators Association, whose official publication it has been since 1938. In 1954, the two magazines were merged using the name Southwestern Musician combined with the Texas Music Educator under the editorship of D.O. Wiley, who continued to serve as editor until his retirement in 1963. At that time ownership of both magazines was assumed by TMEA. In August 2004 the TMEA Executive Board changed the name of the publication to Southwestern Musician.

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Southwestern Musician | September 2020

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Southwestern Musician | September 2020

B Y

B R I A N

C O A T N E Y

PRESIDENT’S NOTES

Diversity, equity, and inclusion

A

check www.tmea .org for updates

September—Renew your membership and register for the convention.

November 1—TMEA scholarship online application deadline.

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

January 21—TMEA convention online early registration deadline.

February 10–13—TMEA Clinic/ Convention.

s I’m sure many of you have, this summer I began working to educate myself on long-standing social injustice and systemic racism. Within that effort, I began reading White Fragility by Robin DiAngelo. I wanted to better understand white privilege and racism. I also wanted to be able to have vulnerable conversations about racism in a way that is open, acknowledges my limited scope, and is free of defensiveness.

After reading just a few chapters, I had two major realizations. The first came from a segment about the need to “sit with the discomfort of being seen racially . . . being seen racially is a common trigger of white fragility, and thus, to build our stamina, white people must face the first challenge: naming our race.” DiAngelo explains that white people are not conditioned to speak or think about themselves in racial terms, which makes it difficult to have an open dialogue about race. I found this to be a profound statement as I was taught to see and recognize people’s race, but I don’t know that I was taught to recognize my white frame of reference or white worldview. DiAngelo offers that our relationship with race impacts the way we navigate the world. Being white has offered me an unjust privilege simply by not having to consider my race in my

I know that several difficult and vulnerable conversations lie ahead, but I am excited about the connections that will be made and the learning that will happen.

Southwestern Musician | September 2020

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daily circumstances. I hadn’t previously considered my race as a major contributor to the way I moved forward in my career or life experiences. We can no longer continue without recognizing these privileges and understanding that for people of color, race has been a major factor, in a much different way. Naming my race puts me in a position where I can engage in important conversations.

The second realization is that racism is complex, and to have an open dialogue about racism, we need to have a shared definition of it. Dictionary.com defines racism three ways: 1. a belief or doctrine that inherent differences among the various human racial groups determine cultural or individual

achievement, usually involving the idea that one’s own race is superior and has the right to dominate others or that a particular racial group is inferior to the others.

2. a policy, system of government, etc., based upon or fostering such a doctrine, as promoted by the dominant group in a society to preserve the continued dominance of that group; racial discrimination.

3. hatred or intolerance of another race or other races.

I believe many people limit their definition of racism as a hatred of another race— that racist people are those who carry out acts of this hatred. Therefore, to be called a racist immediately creates a barrier for conversation. DiAngelo explains that

TMEA Audition Update To support excellence in student musical development and promote health and safety, all TMEA and ATSSB auditions (middle and high school) through January 10, 2021, will be conducted via uploaded recordings . For updates on virtual audition procedures, visit the TMEA website . They will be posted by September 1 at www .tmea .org/auditions-competitions .

we need to have a better understanding of racism to have meaningful conversations without getting defensive. In White Fragility, she acknowledges racism exists when policies fostering that inherent differences among various racial groups determine cultural and individual achievement.

DiAngelo explains that white fragility is actually a “powerful means of white racial control and the protection of white advantage.” White people are the beneficiaries of a society that is separate and unequal by race and have come to feel entitled to our advantage. Because of this, we become fragile in conversations about race. We do not want to be part of a conversation where we are being told we are part of this system of racism as that translates to an unsettling and moral offense. Therefore, we avoid the conversations or become silent to maintain our dominance. In truth, racism is a complex, interconnected system to maintain white privilege.

Understanding this definition of racism was an enlightening moment for me.

It was the first time I truly understood the meaning of white privilege and how it has benefited me throughout my career. I know for a fact that I have not experienced

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Southwestern Musician | September 2020

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the obstacles people of color have experienced. I don’t want to believe that our society is separate and unequal by race. I am embarrassed and ashamed that it has taken me this long to see the truth, but I am encouraged by being more comfortable moving forward with dialogue that can spur changes in our systems.

I do believe racism exists in our association and needs to be addressed. Thus, I am glad the Executive Board and staff made it a priority to organize a Diversity, Equity, and Inclusion Committee to expose racism and bias existing in TMEA’s current practices and policies. This committee includes women and men representing Black, Hispanic, Latinx, Asian, and white communities. As I reported last month, our first discussion was in mid-July. In the span of three hours, we listened to inspiring stories of how teachers pushed and encouraged these committee members to become the teachers they are today.

Through their reflections, we were able to envision how to move forward, identifying future discussion topics for continued dialogue that can lead to action. Most importantly, the committee was adamant that this will not just be conversation—that action will happen.

Examining Our Policies If you look at this February’s Southwestern Musician cover—a collage of TMEA’s Past-Presidents—it’s obvious the vast majority of our elected leaders have been white men. Our organi-

TMEA Scholarships TMEA is pleased to offer several scholarships each year for undergraduate and graduate study. To be eligible, complete all application requirements by November 1. Learn more at:

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zation reflects our society in which minority communities have not experienced representation in policy-making bodies.

Tragedies occur and people protest to the deaf ears of policy makers who are primarily middle-aged or older white men.

Even with the best intentions, some often enact policies that do little to support people of color while instead maintaining white privilege. I am embarrassed it has taken me this long to see this evil cycle and finally understand that systemic racism and outright racism exists. Therefore, I invite you to support our Diversity, Equity, and Inclusion Committee members as they examine our policies, procedures, and programs to identify and correct racism and bias.

Closing the Opportunity Gap Several committee members shared stories about the strong teachers who pushed them to become music educators. Those teachers explained how they would face obstacles and discrimination other students wouldn’t. Their teachers did everything they could to prepare and nurture them for their future careers.

The DEI committee members have asserted that our main priority is to close the opportunity gap that exists for not only our minority students but also students who do not have equitable resources. To that end, we will seek ways in which we

can nurture and advocate for minority students so that ultimately, they are encouraged to join our profession and supported throughout that process. We will focus on professional development opportunities that help all members discover their part in this change. We will investigate the resources needed to ensure our socioeconomically disadvantaged students and programs can thrive more equitably in TMEA programs and in music education experiences in general. We will examine the obstacles that have limited people of color from election or selection to TMEA leadership positions.

When TMEA released our statement on racism, we did not want it to be a token statement. We wanted a statement that committed to action and a positive way forward. The Diversity, Equity, and Inclusion Committee is the beginning of that action, and I thank the members of it for their commitment to support TMEA in its growth. I also thank all members for doing everything they can to be part of this change.

I know that several difficult and vulnerable conversations lie ahead, but I am excited about the connections that will be made and the learning that will happen.

My hope is that all members will embrace these conversations and that TMEA can become an example of a healthy and diverse association.

0

Last month’s issue included the feature “Being Human Together” by Coty Raven Morris, one of our committee members (you can find that issue online at www.tmea.org/emagazine). This month, another committee member, Eric Jimenez (with colleague Justin McLean) has contributed so meaningfully with “Dispelling the Myths of Teaching in a Title I School” on page 14. Each of these features offers us great information and insights to consider. Please take a few minutes and benefit from their experiences and guidance.

connections Register for TMEA Connections, review past recordings, and download relevant resources.

W W W.T M E A . O R G / C O N N E C T I O N S Southwestern Musician | September 2020

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In Memoriam Bryce Taylor Bryce Taylor, TMEA PastPresident and past Band Division VicePresident, passed away on July 29, 2020.

Bryce was born on February 12, 1925, and grew up in Edinburg, Texas.

After graduating from high school in 1942, he served in the United States Marine Corps during WWII and was stationed at Pearl Harbor. He played “Taps” over the USS Arizona to honor the fallen servicemen. During his service, Bryce attended the U.S. Marine Corps School of Music in San Diego.

He received his college training at North Texas, Pan American, and Texas A&I, where he graduated summa cum laude, first in his class.

In 1951, Bryce was hired as band director at Three Rivers, where he led the Class A Honor Band in 1960. In 1961, he moved to Alice, where he built a premier band program. The Alice Band was selected as one of the five finalists 12 times in 5A Honor Band competition. Bryce’s bands were named “Best in Class” or “Outstanding” 36 times in concert competition in Georgia, Tennessee, Florida, and Texas. His 1983 band was one of the first recipients of the prestigious Sudler Flag of Honor award presented by the National Sousa Foundation.

Bryce served TMEA in district, Region, and Area offices. He was State Band Chair

in 1960–1962 and President in 1962–1964.

TBA selected him Bandmaster of the Year in 1983. He was the runner-up TEA “Texas Teacher of the Year” in 1982. He served as President, Past-President, and Chair of the TMAA Band division. He was a past member and state membership chair of ASBDA. He also served the UIL as district and region chair several terms. He was recognized by The School Musician magazine as recipient of “They Are Making America Musical” award.

Bryce was a clinician, conductor, and adjudicator throughout Texas, Oklahoma, Louisiana, and Mississippi. More than 30 of Bryce’s students became music teachers, and approximately 200 of his students were selected as all-state band and orchestra members.

Reflecting on Bryce’s influence, TMEA Executive Director Robert Floyd said, “Whether talking about how to teach beginners or what to amend in a TMEA policy while serving on a committee, Bryce was the E.F. Hutton of our association. When he spoke in that quiet, unassuming voice, everyone leaned forward and listened. He was a master pedagogue whose bands played not only with amazing technical accuracy but also with incredible musical sensitivity. He was truly a gentle giant of our profession and a role model for us all.”

1925–2020

1962–1964 TMEA President From 1999 to 2000 he served as the President of the American Bandmasters Association.

Bryce was a family man. He married his wife, Diana, in Edinburg in 1946 after his return from military service. She was a high school counselor for 20 years. They had four children: Scott and Kerry, who also have served as TMEA Presidents, and David and Cynthia.

0

Teach in such a manner that the awards are a pleasant byproduct of your method, not the end that justifies whatever means you choose to employ.

— Bryce Taylor, September 1962 Southwestern Musician Combined with the Texas Music Educator —

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Southwestern Musician | September 2020

EXECUTIVE DIRECTOR’S NOTES

B Y

R O B E R T

F L O Y D

Sharing is key

L

ately, it seems my inspiration for writing columns has come from listening to podcasts while jogging. In this case, it was a Saturday morning jog and a fairly new podcast called Band Talk, hosted

by Charlie Menghini, President Emeritus of VanderCook College of Music, author, conductor, composer, successful music educator for many years, and TMEA invited clinician. Charlie’s guest was Allan McMurray, former Director of Bands at the University of Colorado Boulder for 35 years, multi-year conductor of our TMEA All-State Symphonic Band and, like Charlie, a TMEA invited clinician.

One of their discussion topics was about what band and the music education world would look like on the other side of the pandemic—how will the programs we return to have changed? What will have influenced a new normal that we experience?

While I am not a big fan of lists, the following are a few points I took away from that episode along with some of my thoughts, in no particular order: Those coming back to vibrant, successful programs never left them. You have

Because our hope endures, together, we can arrive at the other side of this pandemic stronger than we expected.

10 Southwestern Musician | September 2020

check www.tmea .org for updates

September—Renew your membership and register for the convention.

November 1—TMEA scholarship online application deadline.

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

January 21—TMEA convention online early registration deadline.

February 10–13—TMEA Clinic/ Convention.

found a way to keep students engaged, involved, and motivated since March. You were quick to recognize who was lagging and reach out to them for one simple reason—you care about every student in your program.

Set reasonable and attainable goals.

Take advantage of any tool, such as TMEA’s virtual audition program, to guide your students’ improvement while fueling their love for music. Now more than ever, music class must be the class they love to participate in the most, a place where they feel welcomed and safe.

To function effectively in our teaching duties over the long term we must find time for ourselves. In the past several months, I’ve heard countless times how teachers have been working harder than ever.

Simply put, that commitment and workload is sometimes a reflection of who we are, but maintaining that pace is also unsustainable. Make sure you read “Caring for Others While Caring for Ourselves” by Nathan Langfitt on page 30 for wonderful pointers on self-preservation.

Local advocacy is your job. Selling your program has never been more important.

Keep administrators informed about what

is going on in your program and communicate with parents and the community to help maintain their support. Find new ways to share TMEA’s advocacy videos with your audiences (www.tmea.org/ itstartswithmusic). Continually remind students of the advantages and takeaways of rigorous music study, in addition to the joy of music-making and being with friends. Meanwhile, TMEA staff will continue to advocate with state leaders about the continued importance of arts study throughout these trying times when social emotional learning is so important for all children.

Cherish that first moment of musicmaking with your students. Plan for it.

Celebrate it. Listen to the room resonate

and have a conversation about it, sharing how much you have missed it. Let’s reunite ourselves with our love of music.

As a group, reflect on what each of you has truly missed.

Throughout this issue, you’ll read several reminders about how the new normal is what we make it. As you seek support in this changed educational environment, keep visiting the new teaching resources page on the redesigned TMEA website at www.tmea.org/resources to get more information and new ideas. If you have used an online resource or technology solution that you found especially beneficial, please recommend it through the facility on that webpage. Whether it’s a solution to a simple or complex concept,

Distinguished Administrator Award Do you work with a school administrator who has been especially supportive of music education during the pandemic and in planning for this school year? Submit a nomination! TMEA has the opportunity at the state level to thank these individuals for their dedication and support. At the local level, this offers you another opportunity to share your success story with the community.

w w w.tmea . org /adminaward

Review scores and listen to MP3s of all of our new products for 2020 In case the pandemic caused you to miss reviewing our 2019 new products you can also review them online Our 2020 Concert Bands include: American Curtain Time - Arranged by Charles Booker Battle Of The Titans - By Dennis Eveland Black Horse Troop - Sousa - Edited by Charles Booker Canon Noel - By Nathan Hervey Celebration For Winds and Percussion - By Dennis Eveland Convivial - By Dennis Eveland Island Dreams - By Charlie Hill On The Mall - Goldman - Edited by Charles Booker Race Before Us - By Philip Loewen Soliloquy (Trumpet & Winds) - By Jim Colonna Walk In The Park - By Dennis Eveland

Our 2020 Jazz Ensembles include: Angels We Have Heard On High - Arranged by Philip Loewen Fascinating Rhythm - Arranged by Charles Booker Groovisimo - By Michele Fernandez ‘Na Proxima Vida - By Michele Fernandez Phat Burger Boogaloo - By Charlie Hill

Please check out our new jazz curriculum: Jazz Zone…The Beginning at www.jazzzoneonline.com

Raise A Ruckus - Arranged by Anthony Susi Til We Meet Again - By Anthony Susi What’ll I Do - Berlin - Arranged by Charles Booker

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your ideas and experience are worth sharing with your colleagues.

As educators and conductors, we never stop learning, and our road to normalcy is tied to pedagogical sharing like never before. Those of you who have taught successfully for years have felt comfortable in your pedagogical ways. Surprise! Little did we know how little we knew, and how exploring the whole new world of technology could and will continue to change our instructional strategy in this virtual world of teaching and learning.

Reflecting on that topic, I’m reminded of my teaching career that began in the late sixties. Communicating and sharing teaching concepts and ideas was something we did face-to-face. For many, it was meeting at a local music store on Saturday morning for coffee and shop talk.

As a young director in Richardson ISD, we spent every available moment visiting each other’s rehearsals. Many nights, after a full day of teaching, I would jump in my car and race to catch an evening rehearsal led by Howard Dunn, Eddie Green, Dick Floyd, Bob Blanton, or certainly the person who taught us all to teach, Joe Frank, Sr., who was then at Richardson HS. This was common practice across the state. I saw it happening in orchestra and choir as well, where in Richardson we had such amazing educators as Glenda Casey, Michael O’ Hearn, and Ruth Kurtis over the years.

While there was a period when we seemed to move away from such faceto-face observations, perhaps becoming too involved in our own programs, they thankfully returned and have expanded and thrived.

Fast-forward to March 2020. Within days of being sent home to carry out teaching and work responsibilities, resources began to bubble up on the Internet, and impromptu Zoom meetings exploded. We were starving for knowledge and figuring out what we did not know. As summer began, conferences began going virtual, and CEDFA, TBA, TCDA, and TODA all were masterful in crafting programs that were relevant and timely in helping teachers prepare for August.

TMEA’s first goal in May was to identify what we could do to help our members the most as we began the move toward the start of school. We launched TMEA Connections, originally as Zoom meetings to help us identify those needs. These

TMEA Clinic/Convention Status Update For months, the TMEA Executive Board and staff have been in discussions about how we will host our 2021 Clinic/Convention (in person or virtually).

While we won’t make that call prior to this magazine’s print deadline, we expect that by the time you receive this issue, or very near that time, we will have announced our decision. It would be wonderful if we could wait until much closer to the event to decide, hoping that time would offer greater clarity. However, given the complexities of our event (attended by 30,000+), the contracts involved, and the domino effect our decision will have on thousands of volunteers, presenters, and performers, delaying further is simply impossible.

If we must hold our event virtually, please understand that once that decision is made, it can’t be reversed even if a viable treatment or vaccine becomes available (for multiple reasons, including that we will have released contracted space in hotels and the convention center).

As we have learned in these past months, from educators and authors in this magazine, this is a time for us to release our prior expectations and look for opportunities to create something new and different. Regardless of our decision about the convention, our commitment to our members remains.

We will continue to dedicate ourselves to ensure your convention experience remains invaluable.

I ask you to boldly support your elected TMEA leaders who continue to deliver on their responsibility of making the best decisions for all, especially during these most challenging times. quickly expanded into inspirational and pedagogical sessions, with our best and brightest teachers sharing ideas about how to survive the pandemic and continue to serve our students in meaningful ways.

Every session I viewed was dominated by teachers discussing how we are going to overcome the challenges brought on by COVID-19 and move forward with a new normal that is more exciting, innovative, and effective than ever.

One Connections event included over 300 elementary teachers watching a video of a Connections committee report on everything from effective software to teaching from a cart. Equally important as the information shared was their positive, infectious spirit demonstrated throughout. I was so inspired that the next day I sent the session video to Commissioner of Education Mike Morath’s staff, who I heard back from within the hour with assurance that they would share with their colleagues. For weeks, they had been so overwhelmed with questions and complaints from superintendents, parents, and

teachers that it was refreshing for them to hear something positive and encouraging about how our educators are serving students effectively. Maybe there is a lesson in there somewhere!

Finally, last fall, an Austin minister I enjoy shared a series of messages entitled “The Struggle is Real.” The overriding message was that any hopes we have are stronger than we realize and worth fighting for.

In the series we heard that we must deal with challenges by facing them head-on, putting our feet on the floor and moving forward, knowing that we are not alone in our struggle. While this message series was theologically based, how we overcome our educational struggles brought on by the pandemic requires a similar approach.

Collectively, we have that fortitude and passion to discover a new normal, whatever it might look like. Because our hope endures, together, we can arrive at the other side of this pandemic stronger than we expected. Remember, everything that matters will last.

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Southwestern Musician | September 2020 13

DISPELLING THE MYTHS OF TEACHING IN A TITLE I SCHOOL LEAN C M TIN

IC

BY ER

W

US J & EZ JIMEN

e met during our undergradupopulation school, students might need to ate studies at Prairie View work after school or go home to take care of TITLE I STUDENTS AND MUSIC A&M University—two eduyounger siblings. These commitments aren’t cators of color committed indicators of disinterest in their education; PROGRAMS ARE NO DIFFERENT to returning home to serve schools they are a reflection of their family’s ecoFROM SCHOOLS WITH QUALITY much like the ones in which we were nomic instability. Instead of viewing these FUNDING OR FINANCIALLY ASTUTE raised. We understood the positive students through a deficit lens, understand impact our band directors had on us, them as students who need nontraditional DEMOGRAPHICS. AT THE CORE, and because of it, we were commitstrategies to teach them, and find ways to THEY ARE ALL BLANK CANVASES ted to paying it forward. Since then, create access for them to participate. This we’ve had the honor of working sidemay be especially true for teachers whose WITH THE POTENTIAL TO CREATE by-side to enhance band and other educational background does not reflect the COLORFULLY RICH EXPERIENCES music programs across the Houston environment or demographics of a Title I AND LEAVE LASTING IMPRESSIONS. area. During our time serving the school. Students in urban and low socioecoHouston ISD, we spent most confernomic schools often need teachers who will ence periods immersed in brainstormstand the test of time, get to know them, and ing discussions. How could we overcome the frequent challenges in be invested in their well-being. Once that relationship is established, our teaching environment? students can show they are committed to you and the content.

Years of these honest, solution-focused discussions led us to create The Score, an urban music education podcast. Through it, THERE’S NO MONEY FOR GOOD MATERIALS OR INSTRUMENTS we offer urban music educators a platform to share their success stories. Our aim is to foster a renewed and positive conversation This statement is broad enough to be true for many. We instead of the metanarrative filled with assumptions and stereohave served in schools and music programs with $0 budgets, but types. What we offer in this article is based on our podcast’s epithis didn’t deter us from providing a quality music education. We sode 36, “Be Willing to Teach Us, Too.” consistently held fundraisers, solicited sponsors, and created a Regardless the type of school you teach in, we hope you will community instrument donation campaign. We did that to reduce gain a greater understanding for and appreciation of students like student fees so low that a lack of disposable income in our student us and the educators who serve them as you read our responses to families would not prohibit their participation. We also recomthe following myths about teaching in a Title I school: mend creating payment plans to help families understand your commitment to their child’s participation in your program. This might require some to reflect on existing biases toward the ecoTITLE I STUDENTS DON’T CARE ABOUT nomic stability of your students’ families. We knew these methods GETTING AN EDUCATION would be more work on our part. But we also knew they were the This is an example of bringing implicit or covert bias right things to do to ensure our students enjoyed the best music into the classroom. For example, in a majority Latino student education experience possible.

14 Southwestern Musician | September 2020

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IT WILL ALWAYS LOOK GOOD ON YOUR RÉSUMÉ IF YOU HAVE DONE THE WORK TO BUILD UP A TITLE I SCHOOL. THAT TAKES COURAGE AND IT TAKES INTEGRITY. THOSE SCHOOLS ARE DANGEROUS

This statement is misleading and can carry so many false assumptions. I still recall many experiences of doors being abruptly locked, purses being clutched, and people crossing the street to avoid proximity with me. If we don’t allow for self-reflection and deprogramming of our personal prejudices, these biases can be carried into how we treat students in our classrooms. “Those schools are dangerous” is usually stated by someone with little or no experience serving Title I schools. We’ve heard similar statements from clinicians throughout our careers.

However, their visits were often followed with positive messages and willingness to return to help. Some have openly admitted their false assumptions and felt comfortable enough to share them with us. Kids are kids, yes. But these are the very same kids who might require the willingness of an individual to set aside any preexisting biases or assumptions to truly be of help.

PARENTS WON’T BE INVOLVED OR SUPPORTIVE

This statement has been consistently shared throughout our careers as students and as educators. Eric: As a Latino educator, when I went back to serve schools with parents who mirrored my lived experience, I recognized my parents in those of my students. I reflected on all the time and effort my parents dedicated just to make ends meet, and through that, how they never discouraged me from excelling in my academics or arts involvement. I also have found some parents are unaware of their rights or abilities to participate if given the opportunity. We recommend providing parents and guardians an environment that is open, inviting, and celebratory of their involvement. We also recommend encouraging parental support in a variety of accessible ways—material donations, providing meals, transportation for other students, and volunteer hours.

THOSE SCHOOLS HAVE MORE DISCIPLINE PROBLEMS

Statistically speaking, this may be true. Unfortunately, it may stem from the perceptions teachers have of their students of color or low socioeconomic status. The way our students respond to behavior issues might be defense mechanisms and a reflection of their environment for survival. In our 10+ years of serving as educators, we have never written a discipline form. Instead, we found various solutions for redirecting behavior through open conversation, restorative practices, or the involvement of the school counselor. We invite teachers to find alternative ways to redirect misbehavior instead of relying on the traditional methods, which can ultimately lead to more issues throughout the year.

TITLE I ADMINISTRATORS AREN’T SUPPORTIVE

It’s simple: administrators support the positive things that bring quality attention and shine to their respective campus. They don’t have favorites as much as they react to what you’ve done for our school lately. And while that may sound 16 Southwestern Musician | September 2020

like the beginning of favoritism, it’s really about the level of effort and consistency being offered. Whether it is an athletic organization, educational club, or fine arts program, administrators want consistency.

I have always worked with administrators who went above and beyond for my program and me. Whether it was class scheduling, instrument funds, or support with parents, administrators helped because I was consistent. I remained consistent in my focus on classroom management, encouraging students to be leaders outside my room, and building strong teacher-parent relationships.

It is a big plus when matters aren’t automatically escalated to the administrator’s office. Any time you go into a new educational environment it should be with an open mind, ready to focus, to build, and to develop.

THOSE MUSIC PROGRAMS DON’T GET GOOD RATINGS

Good ratings aren’t limited to highly funded schools or the districts in which you may be currently indoctrinated to pursue jobs. Although those districts and the schools in them are decorated with first divisions and Sweepstakes awards, it wasn’t the school or the district itself that produced those good ratings. That kind of achievement requires two things. The first is relationships.

If you want to achieve good ratings, I suggest you shift your focus toward investing in and building teacher-student relationships.

We constantly teach our students about the various relationships in music, whether it’s the connection of tonality and intonation, the idea of melody and accompaniment, or the aspect of conductor and ensemble in a performance context. Yet we forget to extend that knowledge and theory to the students sitting directly in front of us, resulting in a lack of real connection or buy-in from them. In a Title I school or district, understand that good ratings not only come from consistent and high-quality programming and teaching but also from student investment. Your students must know and believe they aren’t pawns in your classroom but are co-laborers in the goal of musical excellence.

The second important aspect in achievement is identifying what good ratings are for you and what you hope to attain in the process of working toward them. Never settle for lackluster work ethic or performance below the standards to which you’ve aspired for your program and your students. Remember to build strong relationships, clearly define your good rating, and consistently program to meet those nonnegotiables, and you will always be satisfied.

IT WON’T LOOK GOOD ON MY RÉSUMÉ/OTHER EDUCATORS DON’T RESPECT TITLE I TEACHERS

It will always look good on your résumé if you have done the work to build up a Title I school. That takes courage and it takes integrity. I have always found that willingness to devote my energy to building up programs spoke for itself. We often think of prestigious universities as great places because of the great minds who attended them and the legacies they left behind. Much like

the marks left by those great minds, your résumé is a collection of the places your DNA of work and professionalism has built into something greater.

Responding to the idea that other music educators will not respect you as a Title I teacher, understand this: the respect of other educators is not what we do this for. While the well wishes and acknowledgments of great work are obviously appreciated, constantly seeking respect or affirmation from other educators (who would probably advise you not to work in a Title I environment in the first place) will never be a good use of our energy. In this work, we need to be concerned less about our peers and more about our students. How will our great work be remembered by the community and especially the students—the young malleable minds we choose to invest in and build up every day?

Title I students and music programs are no different from schools with quality funding or financially astute demographics.

At the core, they are all blank canvases with the potential to create colorfully rich experiences and leave lasting impressions. Now, the Title I canvas will require extra time and creative effort may be needed to obtain the tools to paint such a beautiful picture. Still, never doubt that the opportunity to create the beautiful picture exists.

As you keep thinking on this topic, consider these questions: What are your personal expectations for your career and have they been shaped by the utopian language of your previous music professors and directors? Have you yet to build something simply for the purpose of being a great educator? Expectations begin with you.

I’LL HAVE TO LOWER MY EXPECTATIONS

As we work to dispel myths about teaching in schools like ours or students who look like us, we would also like to encourage our colleagues to provide opportunities for their students of color to see themselves as music educators. If our music programs accurately reflect the demographics of the school population we serve, it leads to more visibility. Furthermore, this visibility leads to representation, which provided us, two students of color, the ability to see music education as a viable profession.

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Often a Title I school or district tends to look different from the usually celebrated places to be or teach. This can lead to the thought that expectations are lower, or nonexistent.

I would ask that you shift those thoughts to the following perspective: expectations come directly from the leaders/teachers who ultimately define them and refuse to settle for anything less. Show me a great organization, team, or corporation, and I can pinpoint the person who developed and shaped that specific identity connected with that group.

The schools where I have taught have been even more willing to reach and attain the expectations I set and modeled. Lowering your expectations won’t be of any service to your school or district.

In fact, it shows a lack of integrity and care not only for the institution of music education but also for the students in your band hall.

VISIBILITY CAN LEAD TO REPRESENTATION

Eric Jimenez is Assistant Director of Bands at Prairie View A&M University. Justin McLean is Director of Percussion/ Assistant Director of Bands at Hightower HS and Lake Olympia MS (Fort Bend ISD). The Score podcast can be found at www.revivalmusicproject.org and on all major podcast platforms.

Music Makes Me the Best Version of Me That I Could Be When Jamsel got into a middle school music class, he finally found where he belonged and felt welcomed, and as a mariachi musician, he’s discovered a new connection with his family. Now he wants to be a band director so he can share his passion with others. Share Jamsel’s story with your students and community. Advocate for music education by sharing these compelling personal stories at www.tmea.org/itstartswithmusic.

Music Makes Me the Best Version of Me

Southwestern Musician | September 2020 17

BAND NOTES

B Y

D A N A

P R A D E R V A N D

In Memoriam Tommy Joe Fry October 23, 1933–July 16, 2020 Eddie Green August 10, 1938–July 24, 2020 Bryce Taylor February 12, 1925–July 29, 2020 Donnie Owens January 6, 1937–August 3, 2020

A year of firsts

S

eptember is the month that usually brings routine to our school days. In past years, students and teachers have settled into the rhythm of teaching and learning. By September, first-year teachers have been welcomed into the profession by attending new teacher orientation, district inservice, meeting school staff, and experiencing their first day of class. Those same teachers may also begin to feel a bit overwhelmed at this point. In past years, I would tell our first-year teachers that what they are feeling is normal and routine. However, this September is anything but routine for any of us!

Originally, I intended to focus more on those new to our profession in this column, but I believe that to some degree, each of us feels a bit like a first-year teacher, regardless of our years of experience. Perhaps the content of this column, while directed to new teachers, may provide some helpful reminders to our veteran teachers as well. Whether you are a first-year teacher or just feel-

The good news is that you aren’t alone in what you are feeling and there is help in the form of common strategies that all effective teachers use.

18 Southwestern Musician | September 2020

check www.tmea .org for updates

September—Renew your membership and register for the convention.

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

November 1—TMEA scholarship online application deadline.

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

January 9—Area Band and Vocal auditions.

January 21—TMEA convention online early registration deadline.

February 10–13—TMEA Clinic/ Convention.

ing like you are a novice again, this year is going to be one giant lesson for us all.

The initial year of teaching is often characterized by the struggles that are encountered, and those struggles are real, especially this year. For many of you, your first classroom is set up in your home office or living room. Your first day of classes were conducted via Zoom or Microsoft Teams, and your initial interactions with your students were virtual. It is normal to feel overwhelmed, especially with the abnormal challenges. The good news is that you aren’t alone in what you are feeling and there is help in the form of common strategies that all effective teachers use. These tips of the trade will help you navigate your first year of teaching. #1 Plan: Lesson-plan like your life depends on it! Be organized and structured in your approach to every rehearsal and class. Organize yourself and your students. Keep a professional journal to document what you taught, when you taught it, what worked, and what didn’t. #2 Communicate! Communicate! Did I say communicate? Understand that the learning process involves everyone: teachers, students, colleagues, and parents.

Communicate with all and often. Send weekly emails to parents letting them know what is happening “This Week in Band.” Include information about weekly assignments and reminders of deadlines and always include something exciting about the program and the students. Do not forget to copy your administrators!

Make sure they are aware of the great ways you are engaging your students and parents. #3 Your Style: Begin to recognize and develop your own teaching style. Your teaching style should mirror your personality. Even in a virtual teaching environment be authentic. That is the way to build trust and respect! #4 Find a Mentor! This is the most important tip. Seek them out and talk

with them often. Ask them a lot of questions and listen to what they have to say.

A good mentor can be a wonderful sounding board and will show you that you are more than your struggles. A good mentor will help you realize the value you are bringing to the profession. Believe it! As a TMEA member, you can request a mentor through our Mentoring Network. Just go to www.tmea.org/mentor.

Being a first-year teacher may present many challenges, but it also has many advantages. You can bring innovation, creativity, and a fresh perspective that can become lessons for veteran teachers. To the experienced teacher, I encourage you to seek out and talk with our newest band directors:

Do not be afraid to ask for help. And that is tip #1 for us all!

2021 TMEA Clinic/Convention We are already working hard to prepare for the 2021 TMEA Clinic/Convention and it is never too early to start making your plans to attend! Be sure to register for the convention when you renew your membership, or if you already renewed, return now to complete your convention registration and take advantage of the lower prices.

• They bring a unique energy and exuberance that will help connect with your students. They grew up using social media as platforms for connections. Let them teach us how to use those platforms to inspire our students.

• They have new ideas and perspectives that can refresh and renew a band’s curriculum. Let them share their thoughts and opinions. Their imaginative ideas can energize a band program.

• They are experts in areas that veteran teachers are not. They have better understanding of new pedagogical and technological ideas. I have consulted many of our younger teachers to help me navigate the online world of instruction!

Finally, whether you are a new or experienced teacher, let us all remember that a good teacher is also a lifelong learner!

We all have times when we need some guidance, inspiration, or simply a sounding board. So look around you. There is an amazing community of band directors, with a plethora of experiences, a wealth of information, and a willingness to share.

TMEA Audition Update To support excellence in student musical development and promote health and safety, all TMEA and ATSSB auditions (middle and high school) through January 10, 2021, will be conducted via uploaded recordings. For updates on virtual audition procedures, visit the TMEA website. They will be posted by September 1 at www.tmea.org/auditions-competitions.

Southwestern Musician | September 2020 19

Vastly different.

Vast opportunities.

11 fields of study | over 26 major ensembles | 100% passion Find Out More: www.depts.ttu.edu/music

@ttuschoolofmusic

Volunteer Please consider volunteering for the 2021 convention. A variety of volunteer options are available. Three very crucial positions to consider are: Clinic Presiders, Performing Group Guides, and Registration assistants. Please go to: www. tmea.org/bandvolunteer to sign up. This is a wonderful and easy way to become more involved with our organization.

2021 Featured Clinician I am so honored to announce that Gary Lewis, Director of Orchestral Studies at the University of Colorado, will be our Featured Clinician for the 2021 Clinic/ Convention. He has taught band and orchestra at all levels and throughout Texas. Please read about him below, and you will see what an amazing musician, conductor, and educator he is. He is a friend to TMEA and has served as an AllState conductor for All-State Bands and All-State Orchestras. He will be presenting clinics on developing musical leadership, score study, and conducting.

Gary Lewis Featured Clinician Gary Lewis is the Director of Orchestral Studies and the Bob and Judy Charles Professor of Conducting in the College of Music at the University of Colorado

Boulder, where he conducts the University Symphony Orchestra and oversees the entire orchestra program. He is also Music Director and Conductor of the MidlandOdessa Symphony Orchestra.

At CU Boulder, Lewis leads the graduate program in orchestral conducting including both the masters and doctoral levels.

Prior to his appointment at Colorado, he served as Director of Orchestras at Texas Tech University, Director of Bands at the Ohio State University, Associate Director of Bands at the University of Michigan, and Director of Bands at Abilene Christian University. He is the Principal Guest Conductor of the Boulder Philharmonic and has appeared with the Colorado Symphony Orchestra, the Sichuan Philharmonic Orchestra (Chengdu, China), the Colorado Music Festival, and many others.

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

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Individualized Learning Experiences Completed Collaboratively

by John Mlynczak

O

ne of my favorite things to hear is teachers saying how much they now realize the value of online technology and are glad they were forced to use it. When schools eventually go back to some version of “normal” I hope we all move forward with a more comprehensive instruction that effectively combines whole class and individualized learning. Now that we have had some time to adjust to teaching with online resources and are feeling more comfortable with the technology, the next level of learning can begin. The next step in excelling with online learning is to provide engaging individualized learning experiences and assess them in a meaningful way, while ensuring students are working collaboratively. Let’s take a deeper dive into what this looks like.

Think Individualized Experiences Instead of Online Instruction We have spent a lot of time talking about in-class versus online, but the real conversation is about individualized learning experiences versus whole class learning experiences. The Internet is just a place where learning can happen, just like the physical classroom, or a practice room. When a student is learning online, they are alone at their computer and therefore our assignments need to create a meaningful experience for them where learning can occur.

With the quick shift to online learning, many tried to provide whole-class instruction online, offering group Zooms or prerecorded lectures. But it’s time to move beyond that approach and ask ourselves how we can structure assignments where students spend more time actively engaged in learning and less time listen22 Southwestern Musician | September 2020

ing to or watching a lecture. And with an abundance of online tools at our disposal, there are so many possibilities.

As a kid, I loved building things. I had a Tinkertoy set, Erector Set, and K’Nex, and I would never follow the plans! I just experimented, failed, and learned. Eventually, I built things far beyond what the instructions intended. Think about the abundance of online resources like a widely available, massive Tinkertoy set.

Traditional education would have us provide each student the same building plans, lecture them with step-by-step instructions, and then ask them to build the exact same thing for the purpose of demonstrating competency on a test. But instead, we can give students a goal that motivates them, provide links to the resources they need to understand how the pieces fit together, and allow them to experiment, fail, and learn. Then eventually, students will build things far beyond what the instructions ever intended!

Individualized Does Not Mean Isolated At its core, the Internet was designed to connect us, and it continues to connect us in previously impossible ways. As we make assignments for students, especially for at-home learning, it’s important that we connect them. This can be uncomfortable at first, because as teachers we are trained to make sure students not talk in class, listen to the teacher, and follow instructions. However, in an online learning environment we want the digital equivalent of every student talking in class! The goal with online instruction is individualized learning experiences, completed collaboratively.

The easiest way to get started in connecting students is through peer review. The adage of “three before me” can be used effectively

2021 AUDITIONS Admission and scholarships/assistantships available H October 24 H November 14 H February 6 H March 6

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here. Have students review each other’s learning and reflect on the feedback they receive. These reviews should happen consistently, not just at the end of an assignment. The next-level approach is to structure scaffolding projects based on feedback or group work. Students can compose a musical example, get feedback, and roll it into the next assignment by taking that feedback and expanding upon their composition. For group work, students could each be responsible for a different musical piece or even role, such as composer, performer, or producer.

Peer review, feedback, and collaboration should be part of every online assignment. To accomplish this, structure lessons in your learning management system to include discussion forums for sharing work. Student communication should be as transparent as possible, and we should create an environment that is a safe space for everyone to share and collaborate consistently as they work on their individual learning experiences.

Process Over Product Learning happens while doing, not by turning in a project. While these indi-

vidual learning experiences are collaboratively completed, the process is the heart of the experience. There are many times when a final product may not even be necessary. Rather, we expect a reflection on what was learned and how it can be applied in the future. Sometimes providing the time and structure to learn a concept is the most valuable assignment we can give.

I remember as a kid trying to build a helicopter with my Erector Set. I couldn’t figure out how to position the batterypowered motor and the various gears to make it work. Eventually I just took the entire project apart and experimented only with the concept of positioning the motor.

I made several tests until I figured it all out, but I never had an actual product to show for it. I later built a new helicopter that had the right blade ratio and motor positioning, but that was only accomplished through the process of playing with how it works, which at the time led to no actual tangible product. However, the learning through that process is a product I still remember.

Imagine students recording themselves rehearsing a musical passage at three dynamic levels and then comparing

the differences in timbre through a selfreflection. No final recording is due, no product turned in, but that learning will apply to all future performances! Music provides so many opportunities to learn through the process of creating and performing. Here are a few more examples of what this individualized instruction can look like: • Compose a few short melodies with various shapes to understand melodic line, and then compare the shapes with classmates and discuss the differences and similarities. Extend by combining shapes into two parts and explore counter melody.

• Record a passage with three phrasing and dynamic options, and then send to other classmates with a survey on what emotion each example conveyed. The student then completes a reflection on what musical elements are connected to which perceived emotion.

• Search YouTube (or a curated list for younger students) and build a library of model musical performances.

Compare these models and articulate the differences of each to each other, using proper musical vocabulary.

• Explore Chrome Music Lab’s Song Maker to build and break down four measures repeatedly to better understand rhythms. Compare two contrasting rhythms and discuss their emotional impact.

Engagement Over Assessment The balance between the assessment and assignment is the key to success. Just like our traditional assignments, our traditional assessment methods need to adapt to support individualized instruction. The goal in online learning is to engage students. We must motivate students to start their computers, wanting to explore, collaborate, and continue learning about music. We are used to assessing a product, like a playing test or a written quiz, but how can we assess engagement in the process of learning?

Think more about what you should assess instead of everything you can assess. We sometimes fall into the trap of just assigning point values for everything we can see and adding those to 100%. But instead,

24 Southwestern Musician | September 2020

let’s think about what we should be adding value to, not simply where we can add points. Sometimes assigning a value to the reflection of a process means we don’t need to have points for each step, as those must have been completed to get to the reflection. Think carefully about what should be assessed as the most important aspect of learning and focus there.

What you assess directly affects what is learned. We’ve all heard (and perhaps asked at some point) the common classroom question: “Is this going to be on the test?” What is really being communicated here is that the assessment is directly tied to the learning, and students are looking at the assessment to determine the value of what they should learn. So, it is important that we add value to what we want them to accomplish, including their peer collaboration and self-reflections.

Assess the entire process and not only the product. Since the process of learning is now the focus, our assessments can begin right away at each step of the process. Put value on sharing and collaborating dur-

ing the lesson and have students reflect throughout the process.

Assessment should give feedback on how to do better next time, not why a grade was given this time. As we focus on engaging and motivating students in a new type of learning, it is essential that our feedback continues to build confidence and makes students eager to move on to the next lesson. When students give each other feedback and when we give feedback, always offer praise for what the student has accomplished and focus suggestions toward moving forward. A simple shift from “you lost 12 points for bad rhythm” to “so proud of you for getting this done at home; now let’s focus on rhythm for the next assignment” will go a long way.

Music is not created for a teacher to grade, it is created to make the world a more beautiful place. Here it is! The big, loud, Beethoven-symphony-style philosophical ending to which the entire article has been building! Online learning simply cannot be a pile of projects for students to submit for a grade following a lecture. It also can-

not be a software program giving the student a grade. Assignments should include students sharing their music, and their learning, with their peers and families.

Share what your students are creating with your coworkers, the administration, the community stakeholders. Make this part of the assignment and add value to it by assessing it.

We must use the power of the Internet, the abundant online resources at our disposal, and our musical knowledge and passion to ensure students are learning music more effectively than ever. By creating individualized learning experiences completed collaboratively, we can continue to deliver on our goal that has not changed: to change lives through music.

0 John Mlynczak teaches online graduate courses at VanderCook College and is Managing Director of Noteflight, a Hal Leonard company, and PastPresident of TIME: Technology in Music Education. As an educator Mlynczak taught general music, band, choir, marching band, and music technology.

Teaching Resources Repository Searchfor theresourcesyouneed Filtertonarrowthereturnof results Recommendresourcesforinclusion W W W. T M E A . O R G / R E S O U R C E S TMEA built this repository to help you locate meaningful resources for delivering instruction in remote and blended environments. The webpage is available now, but we will continue expanding the resources. Help your colleagues by recommending resources for inclusion.

Southwestern Musician | September 2020 25

ORCHESTRA NOTES

B Y

M I C H A E L

S T R I N G E R

Establish and maintain connections

W

hether we are working from home, commuting to school only to present virtual lessons, or teaching courses in our classrooms and online, connecting with those around us has never been more vital. While connections might look different right now, their power remains just as strong (or more so). In these times, it is so easy to become disconnected from those around us, so we must continue to be intentional in our effort to connect.

Teachers Connecting with Students The most obvious connection for any teacher is of that with their students.

Recently, I had a great conversation with a teacher in our district who asked about ways to connect with the students learning virtually. As I thought, I realized that while our lessons were thoughtfully designed, the asynchronous portion didn’t allow for that all-important connection between student and teacher. As we began to brainstorm, we thought of creating a short video

It is so important that we keep learning from and sharing with one another to continue to give our students the best experiences possible.

26 Southwestern Musician | September 2020

check www.tmea .org for updates

September—Renew your membership and register for the convention.

September 1—Deadline to submit AllState etude errata to the Orchestra Division Chair.

November 1—TMEA scholarship online application deadline.

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

January 21—TMEA convention online early registration deadline.

February 10–13—TMEA Clinic/ Convention.

from the teacher to the students and then asking the students to do the same as an assignment. Simple things such as birthday, favorite color, favorite food, and one thing they are excited about in orchestra this year came to mind. The teacher realized she could use some of those things in her synchronous portion of lessons to divide students into breakout rooms based on similarities so students could get to know one another even better. It would also allow her to be able to connect with a wide variety of students over the different items they had in common and even allow some good debate over which is better, dogs or cats (of course, we all know the answer to that one). At the end of the conversation we both realized that students also had to be connected with each other more than ever.

Students Connecting with Students While attending one of the TODA Coffee Colloquy sessions, I asked for ideas on how to connect students with each other. Many ideas were immediately offered, such as creating “houses” within the orchestra so students can connect in smaller groups, placing incoming students with older students so each can get to know the other and so incoming students can have immediate connection with the program, and creating online social events for the program. While some of the ideas seemed like great suggestions for the beginning of school, I began to ponder how to create meaningful online social events for the students throughout the year.

Every year, the first (and most well attended) event has been our orchestra scavenger hunt and dance party. Students were assigned a random group with an orchestra council member as the leader.

They ran around the school to find different locations and took group pictures at each spot. Sending the pictures to the orchestra historian was the team’s entry

to the dance party, where we turned the orchestra room into an awesome dance floor complete with disco ball! As I asked for help from my colleagues, I began to wonder how to help the directors recreate this event online. I quickly realized that the scavenger hunt could be successful by splitting the students into breakout rooms and providing a list of items students would find in their homes and bring back to join their friends in the main room with music playing so they could enjoy the evening together. While not the same, I realized that with some creativity (and a lot of help from other colleagues) this event could be reimagined so students could connect to each other, even virtually.

new ideas from one another. Connections are key—let’s keep learning and sharing together. My best wishes for continued success this year!

TMEA Clinic/Convention I hope you are making plans to attend TMEA’s 2021 Clinic/Convention! If you haven’t already, take time now to renew your membership and register for the convention at www.tmea.org/renew. Our convention is a great time to get away, reunite with colleagues, hear some wonderful performances, and learn new instructional

Connecting with Our Colleagues During the past few months, I have realized how essential colleague connections are. Through the sharing of ideas, we can solve almost any issue in our profession today. I have seen our teachers come together and determine how to teach virtually, how to teach face-to-face with appropriate PPE and distancing, and even how to teach each way concurrently. It has been one of the most amazing things to witness in my career. TMEA is so proud to be able to support these continued conversations with our TMEA Connections events. If you have not been able to attend yet, I hope you will join the next one. Until then, you can view each session and supporting documents at www.tmea.org/connections. It is so important that we keep learning from and sharing with one another to continue to give our students the best experiences possible. We are so lucky to teach in a place and at a time where we can learn from and help one another with just a few clicks.

As we continue our journey into the unknown (with apologies for the Frozen II reminder), know that we are all in this together and are fortunate to teach in a state with so many great colleagues who are willing to share and learn

TMEA Audition Update To support excellence in student musical development and promote health and safety, all TMEA and ATSSB auditions (middle and high school) through January 10, 2021, will be conducted via uploaded recordings. For updates on virtual audition procedures, visit the TMEA website. They will be posted by September 1 at www.tmea.org/auditions-competitions.

Southwestern Musician | September 2020 27

techniques in some amazing clinics! Read on to learn more about our featured clinician, Jennifer Drake, who will present clinics on several engaging topics throughout the convention.

Featured Clinician Jennifer Drake Inspired by the power of music to connect people, ideas, and communities, Jennifer Drake is a conductor, violist, teacher, clinician, and camp director. The most enthusiastic musician you will ever meet, Drake is known for her versatility, humor, and energy. She has been a transformative force for the arts in Boise, Idaho, since 1999.

Winner of the 2018 International Conducting Workshop and Competition, Drake is the Music Director of the Serenata Orchestra, the Boise Philharmonic Youth Orchestra, and the assistant conductor and principal violist for the Fairbanks Summer Arts Festival.

She is the principal violist for the Boise Baroque Chamber Orchestra, as well as a section violist for the Boise Philharmonic.

Drake has enjoyed an international chamber music career, performing at the 33rd International Viola Congress in Reykjavík, Iceland, and the International Bass Clarinet Convention in Rotterdam, Holland.

Drake is a highly sought teacher and clinician. Her students range in age from 10 to 80 and enjoy success in a variety of

TMEA Scholarships TMEA is pleased to offer scholarships to students in undergraduate and graduate programs who are majors in a music degree program leading to Texas teacher certification with music as the primary teaching field.

• Graduating Senior Scholarships • One-Year Undergraduate Scholarships • One-Semester Student-Teacher Scholarships • One-Year Graduate Study Scholarships To be eligible, complete all application requirements by November 1.

WWW.TMEA.ORG/SCHOLARSHIPS

YOUR STAGE. YOUR PERFORMANCE.

Apply by December 1 | roosevelt.edu/tmea 28 Southwestern Musician | September 2020

musical endeavors, including performing in ensembles, earning college scholarships, consistent high rankings in contests, all while maintaining the love and enjoyment of making music. As a clinician in demand across the nation, she is known for her infectious energy and ability to engage with ensembles of all levels.

0

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music.uco.edu/auditions or call 405-974-3754

Caring for Others

by Nathan Langfitt

G

reat uncertainty has prevailed over music education in the wake of the COVID-19 pandemic. The myriad of ways our classrooms continue to be affected is so vast that it is hard to even comprehend, let alone plan for. Yet, in the same moment we are unsure about the future of our work, we are increasingly reminded of its value. Our field lives at a unique intersection of the power of music and the power of human relationships, but the opportunities to experience each are in short supply.

As we continue to wrestle with the impact to our classes, concert halls, and ensembles, it is critical that we not forget our personal needs. In a moment where everything is uncertain, we are distanced from others, and we cannot teach in the ways that usually bring us joy and purpose in life, it is inevitable that our mental health will deteriorate to some extent. I’m hoping to provide some perspective to help you find at least some relief to the likely increasing levels of stress and anxiety you may be feeling.

Our stress levels are all running high right now—that is expected and inevitable. My aim is to help restore balance back to how you are feeling. Many of my suggestions may be things you are already doing. If they are, that is great, and I’ll encourage you to take them a step further by adding the element of intentionality.

It is great for your mental health to work out or do some yoga, and it is even greater if you pause before you start to remind yourself that you deserve self-care, that you should take a moment for yourself, and that you are practicing self-compassion by doing so.

Checking In to Check Out Before I was a therapist, I was a middle school band director, and the mentors I admired the most were the ones who kept their cool under pressure. I’ll never forget hosting an on-campus talent show in my first year of teaching. Three of our beginning bassoonists had arranged some pop tunes into a medley and were about to take the stage when a bassoon was nudged off a chair and shattered into what seemed like thousands of pieces. Conjuring up that flexibility and cool head I admired in my mentors, I sent one student to the band hall to grab another bassoon and asked another student to comfort the now crying sixth grader with the destroyed instrument, while I invited our guest judge, who happened to be a local magician, if he could stall the audience with an impromptu magic show. These decisions flowed out of me in a matter of seconds with little thought. I share this anecdote because I know as music educators you have at least 10 moments just like that every day. Music educators are an efficient and flexible breed because they must be.

30 Southwestern Musician | September 2020

This efficiency and ability to spontaneously problem solve is an amazing talent, but it also has implications for our mental health.

To be that quick on your feet means you must be on, truly on, all the time. Being this alert and vigilant makes us resourceful and useful as teachers, but it is also mentally exhausting, especially when it is sustained over the course of days, weeks, and months.

For many teachers, summer break is the recharge from that state of alertness, but many educators just spent their usual moment of respite preparing for the most uncertain fall semester ever.

As this school year continues to require quick adaptation, see if you can find a few moments a day to ask yourself a simple question: What do I need right now? The answer isn’t the point of the exercise, but rather it is the idea that you asked yourself that question that is so valuable. When you ask yourself this question, try to strike a tone similar to how you would ask a loved one or close friend if you identified they were struggling. When we are stressed and exhausted, people so quickly turn to self-criticism. It is easy to use a judgmental tone and say things to ourselves we would never say to a loved one who is having a hard time. We may not always be able to actually provide ourselves what we need in the moment (sadly we can’t walk out of our classroom and straight to the airport for a vacation!), but if we develop a sense of curiosity with our needs, we can start to identify what pervades those needs.

For many busy people, these check-ins are more likely to happen if they are literally scheduled throughout the day. I often encourage my clients to set a timer to remind themselves to stop whatever they are doing and simply breathe for one minute and notice the sensations in their body. Sometimes taking a mindful pause will not go as planned, and the brain will continue to anxiously problem-solve and make lists. The goal is not to eliminate our stress, but to notice how we are experiencing stress and be able to compassionately find the capacity to handle it. This is exactly why we refer to mindfulness as a practice, as we have to give these exercises time to be integrated into our lives.

Accepting Our Lack of Control Throughout this coming school year, our relationship to control will be tested more than ever. Music educators thrive on making methodical plans for rehearsals, trips, and really anything that applies to helping their students and program. The nature of this year as it relates to the pandemic could turn all these well-made plans on their head in an instant.

As educators, we put so much pressure on ourselves to create

While Caring for Ourselves optimal experiences for our students. In fact, we put so much pressure on ourselves it is easy to lose sight of how profoundly unpredictable this moment is. We did not cause this and probably couldn’t have managed it any better. Over the past months, I have heard educators say they could have planned better, that some things weren’t working because of them, or that the way things were going was their fault. We turn to critical statements like these because it is easier to make meaning out of an experience if someone can be blamed for it, and often, the pathway of least resistance is to place that blame on ourselves. I hope you can remember that you are doing your best, just as your students and colleagues are.

In the same way that you would never criticize one of your students for struggling in this moment, I hope you can provide the same compassion to yourself.

The situation of the pandemic could be an incredible moment of deeper connection with our students, and that starts with developing a deeper level of honesty and vulnerability than ever before.

Because music educators are proud of being knowledgeable and resourceful, it can be challenging to say that you don’t know when a student asks a question. There are going to be many moments in the coming school year where you may not know the answer, and it’s important to remember that it is not only okay to be uncertain, but also normal and humanizing to be so. If you feel comfortable, let students see more of you. Share with them the profundity of the moment you are sharing together, and that while it may be a different and occasionally disappointing experience, music can still be made and bonds can still form.

Still to this day I vividly remember the way my high school band director spoke to us on September 11, 2001. The comfort he shared did not come from having answers, but rather it came from vulnerability, authenticity, and a reminder that music and musicians are a powerful component of the healing experience.

To work through this uncertainty and lack of control, it may be helpful to have a few phrases you can turn to when you are feeling overwhelmed. Some example phrases could be “I don’t know how this will turn out, but I know I care about my students,” or “Today I felt overwhelmed, and that’s okay.” Taking a deep breath and saying a statement like this in a private moment can help us selfsoothe and return to the present. I am not talking about reciting positive affirmations; I am referring more to a factual, honest, and supportive statement. People can sometimes get caught in what I call the “positivity trap,” where they try to slather optimism on top of a moment that is quite miserable. Doing this often only makes

us feel worse because it seems disingenuous. Being honest with our feelings, even when they are difficult, is a more likely and sustainable path back to feeling better.

Adding Some Help to Your Team In many ways, music educators will become even more important caregivers to their students in this coming year, and because of this, it has never been more important that teachers seek care of their own. Getting connected to a counselor or a therapist could be a powerful step toward developing a system of self-care to endure this challenging future. Many people are often surprised that counseling can be beneficial for our daily struggles, in addition to the more clinical applications we typically think of, such as anxiety and depression. Having a confidential and licensed individual on your side can create a transformative space to work through school stress, family and relationship dynamics, and our own internal and personal feelings toward this moment. Many counselors are now providing virtual services, which may make it easier than ever to fit some therapy into the busy schedule of a music educator. With changes to health insurance policy in the last decade, mental health care has never been more accessible.

Remembering Your Humanity Music educators do so much, and with the often overwhelming and thankless work, it can be easy to fall into viewing yourself as more of an instrument than a person. The business and the relentless nature of the work can make music educators prioritize the needs of others above their own. In time, this can lead to a gradual depersonalizing that can be a challenge for one’s mental health.

This may sound simple, but please remember that you are a person. You are a person who is complex, uncertain, and trying to make meaning of this changing moment just like everyone else.

We are all processing this in different ways and at different speeds.

For some it may be a real fear of getting sick themselves, and others may be feeling the anxiety of unstable employment. However you are feeling this, it is important above all that you are feeling it, and that no matter how important the work of teaching young people is, your humanity is more important. I wish you a school year of peace, of compassion, and of self-care.

0 Nathan Langfitt is a Licensed Professional Counselor who previously worked as a middle school band director in Texas schools.

Southwestern Musician | September 2020 31

VOCAL NOTES

B Y

J E D

R A G S D A L E

Navigating the journey

A

s we transition into the start of the school year— whatever that may look like for your school or community—it’s important to maintain perspective, even when the global effects of the pandemic are daunting, discouraging, and distracting. I encourage you to focus on our top priorities: teaching our students, taking care of family, and taking care of ourselves.

When you were a kid, did you ever walk around while looking through a pair of binoculars? If you haven’t, I’ll save you the experiment—just know it’s dangerous and can cause serious injury! We use binoculars to see something in the distance more clearly. They can narrow our focus, helping us ignore everything in between us and the singular point far away. But if we attempt to use them while navigating in our current space, we’d quickly encounter obstacles ready to cause us to trip or fall. The point is, if we keep our focus too far ahead all the time, we neglect what’s around us, hurting ourselves, or worse, hurting others.

To reach any destination, we must know where we are heading and then navigate our immediate setting. While we should indeed check to see if we are maintaining the course trajectory, we must remember that when journeying to their destination, those who use binoculars sometimes also need a magnifying

Students must know they are respected individuals and that they are important parts of the whole.

32 Southwestern Musician | September 2020

check www.tmea .org for updates

September—Renew your membership and register for the convention.

November 1—TMEA scholarship online application deadline.

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

January 9—Area Vocal and Band auditions.

January 21—TMEA convention online early registration deadline.

February 10–13—TMEA Clinic/ Convention.

glass. Facing the continuing evolution of teaching during COVID-19 can seem like the tallest mountain is in our way. As you approach the mountain it seemingly gets bigger and bigger. However, as you begin to climb, what happens to it? Remember, no one reaches the top without taking the first step.

Resources for Your Journey If you’re still researching tools for best practices and curriculum delivery for your classroom, whether brick and mortar, virtual, or blended, many tools are listed on the new TMEA resources webpage within our recently redesigned site. For TMEA staff, this redesign has been its own mountain to climb, with over 700 webpages to retool, half of which display data from or submit data to a database. As you explore, like anything new, it may take a little time to become familiar with the layout.

However, once you return to it multiple times, you’ll get faster at navigating to the pages you need most, so come back often (and if you can’t find something, use the improved search facility at the top of the page).

Perhaps you and a colleague or several can explore the information and tools available on the resources page (www. tmea.org/resources) and see what can benefit your programs the most. You don’t have to use every available program, piece of equipment, or read every article. And if you know of a good online resource,

recommend it for inclusion.

By now, you’ve hopefully received some guidance from your district regarding the tools you can use to reach your destination while ensuring your students are ready for the next level of music literacy, vocal technique, musicianship development, and historical context of the pieces you rehearse. Continue to discuss pieces and how they relate to or impact society today. Talk about the difference choirs can still make in our communities, which in turn can have an impact on the rest of the world. Students must know they are respected individuals and that they are important parts of the whole. They must take that responsibility seriously.

For those in a virtual setting, how to deliver a performance component might be at the forefront of your mind. Before you plan to post or livestream a performance, make sure you have secured approval from your administration. Next, understand copyright laws. Many entities have posted information about copyright laws. While you can dig anywhere, the Barbershop Harmony Society has compiled good resources regarding copyright law. You can find their resources linked from www.tmea.org/resources by filtering on the topic Legal or simply searching on the word copyright. Research these before you get too far. Copyright violations are yet another way your virtual performance project might come to an unscheduled halt.

connections ID E AS • IN S PIR ATIO N • CO N NECTIO N Attend TMEA Connections events hosted by your TMEA Division Vice-President, review past recordings, and download relevant resources.

www.tmea.org/connections 34 Southwestern Musician | September 2020

There are numerous virtual choir and livestreaming platforms available, and more are sure to surface. You can find reviews for some of these online or reach out to a colleague. But before venturing into that realm, I believe we should evaluate what our students truly need in their choral music education. While exciting, facilitating a virtual choir performance may not be what’s needed most. More feasibly, you might record a small ensemble with members outside, standing at least six feet apart and amplified. Also consider solo works as well as small groups performing middle and high school Region audition music. There are many possibilities, but again, check with your administration and ensure that safe mitigation practices are followed.

For those in the virtual setting, all is not lost. In my August column, I wrote about how the All-Region, All-State, and Solo and Ensemble processes can serve as a model for remote curriculum, from practice to research to interpretation assignments. This, along with various warmup activities, music literacy skills development, and theory components, could be an entire semester of curriculum. Don’t visualize or stress trying to program for 90-minute fall and holiday concerts with a coffee house performance in between.

Instead of jamming the calendar with every performance imaginable, we can intentionally invest more deeply in the development of our vocal musicians.

Finally, fatigue of the literal and virtual worlds is real. Combat this in the healthiest of ways possible. Take breaks from the computer and then don’t pick up your phone for 30 minutes. We must take breaks from both. Instead of saying “just a second” to your loved one or pet, take the time to be with them, because you won’t get that moment back. Exercise as much as your schedule allows, which may not be much, but utilize what little time you allot to do so. Eat healthfully—investigate foods that might be slowing your productivity, like I found gluten was for me. I feel better and don’t miss it. Each day find a moment to get outside to take a deep breath. How often have we arrived at work during the dark hours of morning only to step out of the building for the first time into the dark hours of night? And finally, have faith in something you can’t see. This is still okay.

Faith brings the hope of something better, when all that you do see is falling apart.

TMEA Clinic/Convention Update We are especially excited to welcome Jonathan Talberg as our 2021 TMEA Vocal Division Featured Clinician, presenting at our convention for the first time. Be sure to read his feature article about repertoire selection in this issue on page 44.

He will offer these four sessions during our event: • Programming, the Gift that Never Stops Giving • On Beauty: An Aesthetic-Based Approach to Making Music • Rehearsing in the “Garden of Trust” • Words, Words, Words! Music and Poetry Jonathan Talberg Featured Clinician Jonat ha n Ta lberg serves as Director of Choral, Vocal, and Opera Studies at the Bob Cole Conservatory and is conductor of the international award-winning Bob Cole Conservatory Chamber Choir.

He led the choir to first place awards at the Spittal International Choir Festival and the “Choir of the World” competition in Wales. Additionally, he and the choir have performed with groups as diverse as the Kronos Quartet, the Los Angeles Master Chorale, and the Rolling Stones.

Talberg has twice conducted at the National Association for Music Education regional honor choir, at the 2008, 2012, 2016, and 2020 American Choral Directors Western Convention, and at the 2009 and 2013 National Collegiate Choral Organization Conferences. He has been invited to conduct at the 2021 National ACDA Conference. He has led All-State choral concerts from Oregon to Maine.

Prior to his appointment at CSULB

in 2000, Talberg served as Conducting Assistant to the Cincinnati Symphony and the Aspen Music Festival, and as principal choral conductor at Arrowbear Music Camp in Southern California. Before graduate school, he taught high school choir in Orange County and at the Los Angeles County High School of the Arts.

Talberg received his BM in Choral Conducting from Chapman University, where he received the Outstanding Alumnus in the Arts award in 2014. He earned his MM and DMA in Choral Conducting from the University of Cincinnati’s CollegeConservatory of Music and completed a post-doctoral fellowship with the Cincinnati Symphony Orchestra, Cincinnati Pops, and the May Festival Chorus.

0

TMEA Audition Update To support excellence in student musical development and promote health and safety, all TMEA and ATSSB auditions (middle and high school) through January 10, 2021, will be conducted via uploaded recordings. For updates on virtual audition procedures, visit the TMEA website. They will be posted by September 1 at www.tmea.org/auditions-competitions.

Southwestern Musician | September 2020 35

IN CRISIS

BY BRIAN BALMAGES

R

eading the article title, you may wonder whether I am implying that my artistic creativity is in crisis—it has been. Perhaps I am about to discuss being creative during a global pandemic—something many of us are finding extremely difficult. Maybe you are hoping to gain a personal spark—can’t we all use a little inspiration right now? Of course, all these thoughts are related. Yes, I am struggling as a composer and conductor who feels like I have lost my creative outlets. Yes, I want to discuss my personal journey of falling (repeatedly), getting back up, and finding ways to reconnect with my creative self. Why? Because my story might be like yours. You may be at a different place in your journey, but many of us are on a similar path. We are trying to figure out who we are in a world turned upside down.

Who Am I? Like many of you, a significant part of my identity has always been directly connected to music. In the last several months, that identity has been challenged to its core as countless concerts, clinics, residencies, premieres, and commissions have been postponed or canceled. As it all began to sink in, I found myself getting depressed and realizing my identity—which impacts my creativity—was in crisis. How can I be a composer and conductor if I have no groups to write for or conduct? If I thrive on my ability to inspire and engage others from the podium, how am I going to thrive now? Who am I? What am I even here to do?

Power in Possibility My first breakthrough came when I reread The Art of Possibility

by Rosamund Stone Zander and Benjamin Zander. Toward the beginning of the book, the authors discuss a world of measurement versus a world of possibility. They posit that if a situation seems impossible, change the way you frame the situation and new possibilities emerge. I knew kids were missing the opportunity to rehearse and interact with a conductor. I knew there were a lot of students scheduled to be in honor groups under my baton, and now I would not be able to conduct them. This was the impossible 36 Southwestern Musician | September 2020

situation. In a world of measurement, I could not conduct them; however, in a world of possibility, that all changed once I reframed the situation. This led to a call I had with the wonderful folks at SmartMusic. While we knew many students were using their platform, my impossible issue centered around students not being able to make music with a conductor.

We all know what it’s like when a guest conductor comes in and completely transforms an ensemble’s sound and attitude. How badly do these students need this now? What if I could be in the room with them, right in front of them, showing them exactly how I feel each phrase?

Several weeks and many hours later, the SmartMusic Virtual Conductor platform was born. It synchronizes videos of me conducting that the music students see on screen so they can watch me above their music as they play. We rolled out pieces for bands and orchestras at all levels so everyone could experience it. But kids alone weren’t the only musicians using it—music teachers themselves began playing along and sending me messages about how much they were enjoying the opportunity to “perform” again. Even while in isolation, people were inspired by making music with me. In that moment, I realized that there were solutions. There were creative ways forward. Learn more about it at www.smartmusic.com/brian-balmages—it’s a free resource and requires no subscription or account.

A New Kind of Creativity I started finding new ways to inspire others outside a traditional ensemble rehearsal. I began to create videos for teachers to share with students. But that did not fix a major part of me that still felt broken: I had not written a single note in well over a month.

I tried a few times, but nothing was there. Nothing. And it was terrifying.

That is when I received a call from Robert Ambrose to join a group of composers and conductors that would later become known as the Creative Repertoire Initiative (CRI). The mission was to create highly adaptable music to offer ensembles as they struggle

with the restrictions from COVID-19 and to inspire, empower, and encourage other composers do the same. This powerhouse group includes Steven Bryant, Michael Daugherty, Julie Giroux, Jennifer Jolley, John Mackey, Peter Meechan, Alex Shapiro, Omar Thomas, Frank Ticheli, and Eric Whitacre. I knew I wanted to contribute but didn’t anticipate how profoundly this would affect me.

This group changed my life at a time I so desperately needed change. It became a think tank, a place of inspiration, and a safe space where I could openly struggle, find support, and receive encouragement. Our Zoom sessions became an environment in which my creative self began to regenerate, thrive, and seek a way forward.

We Do Not Teach Ensembles This has always been a reality, but I needed to take a step back and really understand this before I could attempt to write anything helpful. We do not teach ensembles. We teach music, and ensembles happen to be just one of many vehicles that enable us to do so. It took me a while to realize this, which is ironic because I always tell ensembles that I have a love–hate relationship with concerts. I love them because they show the audience who we are, what we do, and they exemplify the relationship we have built. I hate them because every downbeat is one moment closer to the last note, after which we all go back home.

So what happens when we stop focusing on the concert and instead focus on the process of teaching music? What happens when we stop worrying about the product, but instead focus on the process—that time when relationships are made, trust is established, and eyes and hearts are opened?

Everything happens.

We Can Adapt I began writing fully adaptable versions of my popular band pieces—three parts for younger players (because I wanted at least several kids to be able to be on each part) and four parts for more experienced musicians. Many orchestra directors asked me to do the same for them, and I began doing so with great enthusiasm. I started getting incredibly excited, as fully adaptable music became a gateway to adaptable teaching and music-making! With fully adaptable music, every musician has access to every part, so if you have three or four musicians, you can play the piece. Trombones only? Two clarinets, a saxophone, and a euphonium? Viola ensemble? Yes to everything! Suddenly, we can use the same piece for a large ensemble or a small chamber ensemble of homogenous instruments. But wait, there’s more!

Students can help make orchestration decisions. Maybe they want to hear what it sounds like if bass clarinets play part 1 and alto saxophones play part 4. Maybe someone is going to try being a comedian and suggest an unlikely pairing (let’s have flute and tuba on line 1). But imagine the surprise when some of these unlikely combinations sound incredible and spark further discussion about timbre and orchestration. How engaging it could be for low brass and low reeds to have melodic lines while flutes play the bass line!

Everyone learns more about what is going on in the piece, better understands how everything relates to each other, and begins listening with more intention. Students get more excited to rehearse because no one knows what the piece is going to sound like on any given day. Suddenly, music starts to have a spontaneity that has been missing from so many ensembles. Sightreading improves

Connect with Creative Repertoire Initiative (CRI) to learn more about adaptable works being written by composers all over the world. Join the Facebook group or visit them on the Web at creativerepertoire.com. because ensembles can sightread the same piece up to four times with everyone playing a different part each time.

CRI also introduced me to modular/cellular pieces, which are adaptable works that allow students to choose how a piece develops, and how slowly or quickly that development occurs. It’s adaptable music that allows students to explore improvisation. The use of electronics enables a piece to be performed by a group ranging from 1 to 100. Welcome to a world of possibility!

Connected Learning It’s clear that students may spend part of this school year learning from home. My son’s school adopted the term “connected learning” because they wanted to project a feeling of togetherness throughout the pandemic, something that terms like virtual and distance learning do not accomplish. With fully adaptable music, you can engage your entire ensemble virtually. Consider having them all play Part 1. You can talk about phrasing, rhythm, style, and more. You can conduct passages while students play. Even though you are connected online, kids will feel like they are part of a rehearsal and you will strengthen their sense of community.

These connected rehearsals may be the only thing meeting a student’s social emotional needs, much like your in-school rehearsals do.

The Gift of Time Our lives as musicians are crazier than many—early morning rehearsals, late night gigs, travel, running from one engagement to the next, and juggling multiple projects at once. However, with much of that on hold, we have been given the gift of time—an opportunity to slow down, contemplate who we are, and consider how we can grow. Since the onset of the pandemic, my personal journey has revolved around two basic questions: Who was I when this pandemic began? And who do I want to be when this pandemic is over?

Don’t Waste a Crisis Our church offered a message series called “Don’t Waste a Crisis.” They spoke about how God did not create this pandemic but wants to use it to grow closer to us. Perhaps you were lacking inspiration before all of this began. Maybe you felt a lack of direction. Or possibly you were running so fast all the time that you were about to burn out. Maybe you forgot the reason you became a musician in the first place and got caught up in adjudication, festivals, competitions, concerts, schedules, and more. I want to encourage you to use the gift of time to rediscover who you are, just as I have done.

So, who am I? My name is Brian Balmages. I am a musician. I create, conduct, and inspire. And nothing on this earth will ever stop me from using my gifts to help open a world of possibility to the next generation. 0 Southwestern Musician | September 2020 37

ELEMENTARY NOTES

B Y

A B I G A I L

H A W E S

What’s normal, anyway?

A

few days ago, I found myself at Office Depot, immediately facing a back-to-school display.

It overflowed with packages of unsharpened Ticonderoga pencils, three-packs of dry erase markers, loose-leaf notebook paper and rulers—the sight of it all stopped me in my tracks.

What I wouldn’t give to be having a normal year right about now, I found myself thinking, wistfully.

In a typical year, my district’s start date meant that by September, things would—for the most part—be settling into a nice routine.

Early morning choir rehearsals would be rolling along, and with each passing day, my double kindergarten music classes might be looking less and less like herding kittens.

This year, rather than cutting out letters and designing bulletin boards for our classroom, we’re doing image searches on Google to find the perfect bookshelf for that corner in our virtual classroom. Instead of organizing instrument

In releasing expectations of how we think things should be, we really do empower ourselves to reimagine the way things could be.

38 Southwestern Musician | September 2020

check www.tmea .org for updates

September—Renew your membership and register for the convention.

September 15—REVISED Invited Elementary Performing Group application deadline.

November 1—TMEA scholarship online application deadline.

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

January 21—TMEA convention online early registration deadline.

February 10–13—TMEA Clinic/ Convention.

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cabinets, we’re researching small keyboards to fit on our new classroom-on-acart. And in place of selecting repertoire and program dates, we’re reimagining what teaching music can look like in our schools and communities for the foreseeable future.

At the end of the day, I believe it’s okay for us to mourn the loss of our normal, just as long as we don’t look back for so long that we miss what could be on the horizon. When we acknowledge that things are going to be different for a time, and that our circumstances are going to change, we

40 Southwestern Musician | September 2020

allow ourselves—and others—the space and grace to adapt and evolve through this year’s inevitable changes.

Likewise, I believe that maintaining a healthy, grounded perspective as we meet the challenges of this school year will help us navigate the uncertainty. In releasing expectations of how we think things should be, we really do empower ourselves to reimagine the way things could be. It frees us to seek out the good—the silver linings—in all of this. And, as hard as we may have to search for them at times, they really are still there.

I believe one of those silver linings is woven throughout the new TMEA Connections series. In this time of distancing, these online events, each hosted by a division Vice-President, were created to connect our membership and provide helpful resources related to our current situation, as well as to help prepare for upcoming challenges.

Through the combination of live discussion panels, video teaching examples, recorded interviews, and even a few musical surprises, the Connections events were a pleasure to help coordinate. Thanks go to the Elementary Division Connections committee members and to TMEA staff members Frank Coachman and Andrew Denman-Tidline for their work ensuring the success of these events. Of course, these events would not have been possible without the thoughtful and timely contributions of our panelists, video contributors, and their families—I hope you’ll join me in thanking them as well!

If you weren’t able to attend one of the live Connections sessions, you can still benefit from them! Go to www.tmea. org/connections, where videos of past Connections sessions are available, along with downloadable resources from presenters. If you haven’t already, I hope you’ll view one (or all) of these sessions and that they leave you as uplifted and inspired as they left me.

And so, we march on. And as we do, the message on one of “Artie’s Affirmations” posters (by Artie Almeida) comes to mind: It’s Not Hard, It’s Just New. Yes—things are different. Yes—we need to give each other (and ourselves) grace to navigate those changes. And yes—it’s absolutely going to be challenging. But what might happen if we let go of our expectations of what we view as normal and embrace the beautiful

reality of what really is? What if we focus on all the things we can do, rather than all the things we can’t?

After all, what’s normal, anyway?

Normal is what we make it—every day is a chance to reimagine and redesign yours.

Make it a good one.

Is Your TMEA Membership Active?

All 2019–2020 TMEA memberships expired on June 30, and if you purchased liability insurance through TMEA, your coverage expired on August 20. If you haven’t done so already, take a moment to go online and renew your membership today. While you’re at it, take advantage of the $30 liability insurance available to our membership; no educator should be without this important coverage.

Volunteer at Convention A successful convention would not be possible without the countless volunteers working behind the scenes. Visit www.tmea.org/elementaryvolunteer to complete the online volunteer form today and be part of TMEA 2021 in a very special way.

2021 TMEA Clinic/Convention Updates I hope you’re looking forward to all that our yearly clinic and convention has in store! This month, I’m pleased to introduce our two Elementary Division Featured Clinicians, Amy Abbott and Paul Cribari.

Amy Abbott Featured Clinician Amy Abbott is in her 23rd year of teaching elementary music, with the past 20 years having been in the St. Vrain Valley school district in Colorado. She received her undergraduate degree in music education from the University of Colorado Boulder and her master’s in music education with a Kodály emphasis from Colorado State University. She has Kodály certifications from Portland State University, where she studied with Jill Trinka, Susan Brumfield, Vicki Loebell, and Sean Dëibler, and from Colorado State University, where she studied with Sue Litehold-Bowcock, Gabor Viragh, and Ann Eisen. Abbott has presented sessions at multiple OAKE conferences, the Colorado Music Educators

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State Conference, Oregon Arts Alliance State Conference, many OAKE chapters, as well as professional development for Amarillo ISD, Bakersfield MEA, and St. Vrain Valley School Districts. She is also the level 2 pedagogy, folksong, and analysis Kodály teacher at Colorado State University.

Additionally, Abbott has served on the ROCKE board for over seven years as President, Secretary, and Member-atLarge, and she was the co-chair for the OAKE 2020 National Conference. In addition to teaching general music at Red Hawk elementary, she teaches a 4/5 choir and a 4/5 musical each spring.

Paul Cribari Featured Clinician Paul Cribari is an Orff Schulwerk teacher in the Cherry Creek School District in Colorado and is the district’s K–12 Performing Arts Coordinator. He received his master of arts in Orff Schulwerk from the University of St. Thomas, and his doctorate in music education from Boston University. In addition to his work with

children, Cribari teaches levels I, II, and III of Orff Schulwerk at Southern Methodist University, Metropolitan State University of Denver, and the San Francisco International Orff Schulwerk Course. He is a regular clinician for local chapters of the

AOSA and has presented sessions at state and local conferences as well as numerous National Conferences of the AOSA. Internationally, Cribari has presented in Italy and Hong Kong.

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Southwestern Musician | September 2020 43

Choosing Repertoire for the School Year

by Jonathan Talberg

T

he music you select is your student’s textbook. You decide whether to focus on classics, spirituals, madrigals, sung poetry settings, liturgical music, or on any of the tens of thousands of published choral pieces written between Gregorian chant and the present. You can teach your singers to wrestle with great minds of centuries ago—like Beethoven and Mozart—or dream of a better world with contemporary composers such as Libby Larsen or Jake Runestad.

You can offer connections to composers with whom your students more readily identify, and who might become heroes or role models to them, like African-American woman Rosephayne Powell, Filipino-Americans Saunder Choi or Matthew Hazzard, trans woman Marí Esabel Valverde, or Mexican-American David Montoya.

www.composerdiversity.com

The Institute for Composer Diversity is committed to the celebration, education, and advocacy of music created by composers from historically underrepresented genders, racial, ethnic, and cultural heritages, and sexual orientations as well as disabled composers.

Through repertoire choice, you can also: • Teach singers texts they’ll never forget. How old were you when you learned what “Fair Phyllis” was doing when she wasn’t standing all alone? Choristers sometimes learn more poetry in choir than they learn in their English classes, and they certainly memorize more of it.

• Share our American folk heritage with arrangements of “Shenandoah,” “Skip to My Lou,” “He’s Gone Away,” and “Long Time Ago,” or quality arrangements of the Beach Boys, Beyoncé, or Broadway and Opera.

44 Southwestern Musician | September 2020

• You can teach history and educate through the texts of works you choose. You can teach about another culture by contextualizing pieces from around the world. For example, that fun Filipino uptempo is a great entry into a discussion on colonialism. A Brazilian samba is perfect for teaching the intersectionality between jazz, Afro-Brazilian rhythm, and the history of dance. And, instead of just programming a Negro Spiritual because it’s fun, you can get into the history and evolution of this quintessentially American art form.

• Collaborate with the school orchestra or band on a Mozart or Schubert Missa Brevis, Vivaldi’s joyful Gloria, Monteverdi’s charming Beatus Vir, or Hanson’s rousing Song of Democracy.

• Collaborate with a string quartet for Leavitt’s lovely arrangement of Dvorak’s “Going Home” from the New World Symphony, an oboist for Effinger’s “No Mark” from his Four Pastorales, or a great drummer (or three) for works by Sydney Guillaume, André Thomas, or Joan Szymko.

• Explore acoustical spaces beyond the cafeteria at some schools. Is there an arts-friendly church nearby, a retirement home with an auditorium, or maybe one of these has an organ? This opens a whole different world of repertoire to you: Benjamin Britten, Leonard Bernstein, Lily Boulanger, and the entirety of 17th- and 18th-century English anthems.

It can take at least a week to choose a year’s repertoire. While I believe it’s best to plan the entire season during the summer break, you can still invest the time at this early stage of the year.

You must be able to sit down with stacks of scores. You also need the Internet for recordings, publisher websites, and for emails to request help from friends and mentors. Doing it all at once will help your programming be balanced, ensure your students love your musical selections, and ensure audiences enjoy a concert experience, rather than simply seeing some choirs perform songs.

It’s about balance and cohesiveness.

10 Rules to Guide Selection So, how do you get started in programming a whole season, and is it truly possible? Consider the following 10 rules to get you started: 1. Only program music you love. Old music, new music, commissioned music, competition music, ceremonial music; if you don’t love it, don’t program it. And, challenge yourself by choosing a lot of new (to you) music each year. It’s appealing to choose music you’ve sung in college, high school, or professional choirs—but, the truth is, it’s not always the right music for your choirs. For that reason, look to fall in love with new music.

2. Over the course of a season (or academic year), strive to find balance between the repertoire from the traditional canon and contemporary pieces. For every new work you choose, try to choose something older. Remember, publishers and music conferences tout the newest, youngest, and current brightest star. Don’t forget to introduce students to Fanny and Felix Mendelssohn, Barbara Strozzi, Clara Schumann, Undine Smith Moore, and others.

3. Include music by women, composers of color, and other underrepresented excellent composers from all periods of music. By consistently studying and performing these works, we can be part of a much-needed change in the music world.

4. Vary tempos, musical periods, keys, timbres, languages, and accompaniment. Be especially careful not to program too much slow, pretty music.

5. Prepare your students to be musical ambassadors by teaching the alma mater and the national anthem and holiday songs from a variety of traditions and by making sure they know some folk songs to share if on tour in a foreign country.

6. Choose music with great text. Many of the best composers— especially contemporary ones—are deeply moved by excellent, thoughtful, original poetry. I ask myself whether the poem stands on its own without music. If it doesn’t I will skip ahead to the next octavo.

7. Choose music that opens up conversations about our world and students’ lives and experiences and your point of view.

I try to choose music that helps me instill wisdom and helps students find connections—if it’s old, I try to make it new. If it’s new, I connect it to the great questions of old.

8. Choose music students can sing and music that’s harder than they can sing—but only slightly. Everyone deserves to do something that’s pleasurable and easy, and everyone deserves to be pushed to build new skills and achieve new heights. Balance is the key.

9. Choose music to memorize and music to sing with scores in hand. Each is an important skill.

10. Try to make each concert an experience by selecting music that tells a story and combines into an artistic, cohesive program. To do this, choose music you want to study, that you believe in, and through which you can instill excitement.

We are music educators and also cheerleaders.

Choosing repertoire as a focused project allows you to achieve balance in several ways: keys, difficulty levels, themes, old with new, and slow with fast. It allows you to spend as much time choosing music for your beginning groups as for your advanced.

Lastly, segment it into two groups (one per semester) to help you evaluate whether you’ve included a diversity of composers, women composers, composers of color, varied cultures, and more. Ensure you’re challenging yourself with brand-new works in addition to favorite choral “chestnuts.” You will find your year progresses much more smoothly when you dedicate this time and energy to make these important decisions up front. As with great singing, it takes a lot of work, but it’s always worth it.

0 Jonathan Talberg is the Director of Choral Activities at California State University, Long Beach. He is the 2021 Vocal Division Featured Clinician.

Editor’s Note: The article appears in the forthcoming book The Choral Conductor’s Companion, edited by Brian Winnie, published by Meredith Music and distributed by Hal Leonard. Talberg has edited it for this publication.

Invest in Our Future Texas Future Music Educators offers students who have an interest in a music education career the support and information they need to help them prepare for their future.

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Connect & Mentor

S ta r t a er chapt ll! this fa

This is an incredible time to mentor students who have an interest in music education! With online meetings, you could host amazing guest speakers who otherwise couldn’t get to your campus. TFME meetings, whether in person or online, are a wonderful way to connect with your student leaders.

www.tmea.org/tfme Southwestern Musician | September 2020 45

COLLEGE NOTES

B Y

P A U L

S I K E S

We are not alone

A

s the fall 2020 semester gets underway, I want to take a moment and recognize the challenges and stresses we are all facing. We at TMEA, like our members and our students around the state, are weighed down by the uncertainty of the future. Some of us have had a few months to create plans for the fall while others have had only weeks to prepare. With the almost constant changes in our environments, we must be ready to change plans at any moment. Along with the uncertainty of our professional lives, we are also concerned about the health of our families and ourselves.

Combined with social-distancing measures, all these things can make one feel alone and stressed. However, it is important to know that you are not alone.

TMEA stands with you through these challenging times.

TMEA Connections Recognizing the challenges educators and students are facing, the TMEA Executive Board and staff created the TMEA Connections program. These connections are opportunities for members to come together in a virtual environment to discuss issues facing our members and students and to work collectively to develop solutions. These Connections also provide an opportunity for

It is important to know that you are not alone. TMEA stands with you through these challenging times.

46 Southwestern Musician | September 2020

check www.tmea .org for updates

September—Renew your membership and register for the convention.

September 1—Collegiate Music Educator Award nominations open for fall graduates.

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

October 16—College Division Fall Conference held online.

November 1—Deadline for Collegiate Music Educator Award nominations.

November 1—TMEA scholarship online application deadline.

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

January 21—TMEA convention online early registration deadline.

February 10–13—TMEA Clinic/ Convention.

our members to see friends and colleagues and support one another.

The College Division will be hosting Connections meetings throughout the 2020–2021 school year. Each meeting will be conducted via Zoom.

Registration information will be available at www.tmea.org/connections. At first, our meetings will focus on seeking information about the challenges our college educators and students are facing.

We will then work through solutions for those challenges and give our members and students the tools they need to navigate these uncertain times. Most of all, our Connections meetings will remind us that we are not alone and that we are here to help each other as we move forward.

Fall Conference In addition to our Connections meetings, TMEA provides an opportunity for college faculty from across the state to come together to discuss issues relevant to teaching music at institutions of higher education. This year’s Fall Conference will be held via Zoom on Friday, October 16. You can register to

attend at www.tmea.org/fallconference. In addition to our regular business, we will receive important updates from policy makers and TMEA staff who work daily on behalf of music education in our state.

These updates include information on how TMEA is supporting members during the pandemic, plans for the upcoming legislative session, and discussions on important issues for you and your colleagues. If you have recommendations for topics to discuss, please let me know. You can email me at collegevp@tmea.org.

the country. Active members’ fees are $60 while college students are free. All must be current members to attend, so I encourage you to renew your membership now (only $50 for an active membership and $25 for college student membership). You may renew your membership and register for the convention at www.tmea.org/renew.

I am very excited about this year’s College Division featured clinicians. They are each outstanding music educators and researchers who bring a wealth of knowledge to our TMEA membership.

2021 TMEA Clinic/Convention Another way to stay connected and receive the support you need is by attending the annual TMEA Clinic and Convention, February 10–13. The event will feature workshops by nationally recognized clinicians for band, orchestra, vocal, elementary, and college educators and performances by the state’s finest musicians. Registration is now open, and I encourage you to register early. The convention fees have remained the same for several years and are remarkably low compared to similar conventions across

David Elliott Featured Clinician David Elliott is Professor of Music and Music Education at the Steinhardt School of Culture, Education, and Human Development of New York University. He was born, raised, and educated in Toronto, Canada, where he attended the University of Toronto and graduated with degrees in music education (MusB, MusM) and education (BEd). He taught secondary schools in Toronto for a bit before beginning his

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Southwestern Musician | September 2020 47

career at the University of Toronto. While teaching at the University of Toronto, Elliott was granted several leaves to accept visiting professorships at Northwestern University, the University of North Texas, Indiana University, the University of Cape Town, and the University of Limerick. In 2002, after 28 years at the University of Toronto, he joined NYU. Elliott lectures at university music schools around the world and his publications include many journal articles and book chapters, as well as Music Matters: A New Philosophy of Music Education and Praxial Music Education: Reflections and Dialogues. As a renowned researcher and philosopher, Elliott has presented keynote addresses and papers at conferences around the world, including the International Society for Music Education and the MENC (now NAfME) National Conference. In addition to his writing, he is also a composer and arranger, with several published works.

During our convention, Elliott will present clinics on the philosophy of music and music education and on praxial music education. “Praxial” emphasizes that music (as products-and-processes) ought to be understood in relation to the meanings and values evidenced in actual musicmaking, music listening, and musical outcomes in specific cultural contexts. Elliott will present ideas on how this understanding shapes the way we should teach.

Scott N. Edgar Featured Clinician Scott N. Edgar is Associate Professor of Music, Music Education Chair, and Director of Bands at Lake Forest College, Illinois. He received his PhD in music education from the University of Michigan, his master’s degree in education from the University of Dayton, and his bachelor’s degree in music education from Bowling Green State University.

Edgar’s previous teaching experience in higher education includes work at Adrian College and Concordia College Ann Arbor. Prior to his work in higher education, he taught K–12 instrumental music in Ohio and Michigan. Edgar is the author of Music Education and Social Emotional Learning: The Heart of Teaching Music and is an internationally sought clinician on the topic. In addition to clinics, he also teaches 48 Southwestern Musician | September 2020

graduate courses on musical social emotional learning at VanderCook College of Music. He is an active clinician, a concert and marching band adjudicator, and regular presenter at professional development and research conferences. Edgar is a member of the National Association for Music Education, the American Educational Research Association, the College Music Society, Phi Mu Alpha Sinfonia music fraternity and Kappa Kappa Psi band fraternity.

Edgar will be present clinics regarding social emotional learning in music education. He will focus on creating healthy classroom environments, deliberately teaching healthy social and emotional interactions in the music class, and using social emotional learning to advocate for music education.

Teaching Resources Repository In addition to providing online events throughout the year, TMEA has provided information from a variety of sources to help educators navigate the changes instigated by the pandemic. Information on returning to school, professional development, community support, social emotional learning, and links to other resources are available to everyone regardless of membership status. All of this is presented through a webpage that includes search and filter functions to make it easier to locate meaningful resources. Go to www.tmea.org/resources, and if you have online resources to share, be sure to submit them from that webpage.

Collegiate Music Educator Award As of September 1, you may submit applications to recognize your elite music education graduates through the TMEA Collegiate Music Educator Award.

Recipients represent the finest and most dedicated preservice music educators who embody the potential to become the most outstanding new teachers in the state. One active TMEA member who is a member of the institution’s music education faculty may nominate that institution’s students online. By nominating a student, the faculty member confirms the student meets all qualifications listed on the TMEA website.

A student may be nominated only once, during their graduation semester. For a list of qualifications and to nominate students, visit www.tmea.org/collegiateaward.

Call for Papers The Research Committee is pleased to announce the call for proposals for presentation at the TMEA Clinic/Convention Research Poster Session. The committee invites submissions from members in all TMEA divisions, including college students. Selected authors will present their research at an informal session in which interested music teachers can learn about the research and discuss applications to music teaching. Submissions must be received by October 15. Go to www.tmea.org/papers to submit a proposal. If you have any questions, please contact Amy Simmons, Chair of the Research Committee, at asimmons@ austin.utexas.edu.

0

TMEA Collegiate Music Educator Award Fall Graduation Nominations Open September 1 Texas college faculty can recognize their elite music education graduates through this TMEA program. Award recipients should represent the finest and most dedicated future music educators across the state.

One active TMEA member who is a member of the institution’s music education faculty may nominate that institution’s students. By nominating a student, the faculty member confirms the student meets the qualifications.

Learn more and nominate students.

www.tmea.org/collegiateaward

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