NOVEMBER 2019
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Contents VO LU M E 8 8 ɵ I S S U E 4 ɵ N OV E M B E R 2019
Features What They Expect in Their Music Programs . . . . . . . 13 In the early ’60s, superintendents shared what they expected from their music programs. Their responses remain relevant today.
Developing Musicians Through Healthy Competition . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 Rather than winning, we should look at competition as a tool to help students improve their individual and ensemble skills. [G R E G C O U N T R Y M A N]
24
Celebrating TMEA’s Centennial: 1960–1980 . . . . . . . . 36 In this era marked by national struggle and tragedy, TMEA navigated its own conflict between state independence and national unity. [K A R E N C R O S S]
Mindfulness in a Minute . . . . . . . . . . . . . . . . . . . . . . . . 55 Students and teachers alike experience high stress in their days. Learn some mindfulness strategies that can help you and your students at every grade level. [K R I S T E N Q U EE N]
Columns President’s Notes . . . . . . . . . 5 [J O E
M U Ñ OZ]
Executive Director’s Notes . . .8 [R O B ER T
F LOY D]
Band Notes . . . . . . . . . . . . . 17 [J O H N
Updates 2020 TMEA President’s Concert Featuring the Dallas Winds . . . . . . . . . 4 2020 TMEA Clinic/Convention: Registration Reminders . . . . . . . . . . . . 28 Share Your Music Story (and get your students to do the same) . . . . . 41
CA R R O L L]
Orchestra Notes . . . . . . . . . 31 [M IC H A EL
S T R I N G ER]
Vocal Notes . . . . . . . . . . . . . 42 [J E D
R AG S DA L E]
Elementary Notes. . . . . . . . 49 [A B I G A I L
H AW ES]
College Notes . . . . . . . . . . . 61
on the cover
Leah Cepeda rehearses with the 2019 All-State Treble Choir. Then a senior at Timberview HS (Mansfield ISD), she is now a freshman at Houston Baptist University. Photo by Karen Cross.
[V I C K I
BAKER]
Southwestern Musician | November 2019
1
Editor-in-Chief: Robert Floyd UĂ R\G@tmea.org 512-452-0710, ext. 101
Managing Editor: Karen Cross
kcross@tmea.org 512-452-0710, ext. 107
TMEA Executive Board President: Joe MuĂąoz
2020 TMEA CLINIC/ CONVENTION BASICS • February 12–15, 2020
PXQR]M#SHDUODQGLVG RUJ 3775 South Main Street, Pearland, 77581 281-997-3219 – Pearland HS
• San Antonio, Henry B. Gonzålez Convention Center
President-Elect: Brian Coatney
• Discounted downtown hotel rates at www.tmea.org/housing
brian.coatney@pisd.edu 2200 Independence Parkway, Plano, 75075 469-752-9396 – Plano Senior HS
Past-President: Robert Horton rhorton@conroeisd.net :HVW 'DYLV 6WUHHW &RQURH 936-709-7806 – Conroe ISD
Band Vice-President: John Carroll
• $60 early registration fee for active TMEA members • 300+ clinics, 100+ performances, 1,400+ exhibit booths • Full-day preconference of music technology clinics • Active TMEA members earn CPE credit
www.tmea.org/convention
MRKQ FDUUROO#HFWRUFRXQW\LVG RUJ 1800 East 42nd Street, Odessa, 79762 432-553-2780 – Permian HS
Orchestra Vice-President: Michael Stringer mstringe@aisd.net :HVW $UNDQVDV /DQH $QQH[ $UOLQJWRQ 682-867-7662 – Arlington ISD
Vocal Vice-President: Jed Ragsdale MHGUDJVGDOH#WRPEDOOLVG QHW 1RUWKSRLQWH 5LGJH /DQH 7RPEDOO 281-357-3230, ext. 1106 – Memorial HS
Elementary Vice-President: Abigail Hawes
300+
CLINICS
From master teachers, learn proven methods and strategies you can use in your very next class.
DELJDLO KDZHV#FÀVG QHW 13734 Lakewood Forest Drive, Houston, 77070 281-370-4040 – Moore Elementary
College Vice-President: Vicki Baker 9%DNHU#WZX HGX 3 2 %R[ 'HQWRQ ² 7H[DV :RPDQ¡V 8QLYHUVLW\
TMEA Staff Executive Director: 5REHUW )OR\G | UĂ R\G@tmea.org Deputy Director: Frank Coachman | fcoachman@tmea.org Administrative Director: Kay Vanlandingham | kvanlandingham@tmea.org
100+
PERFORMANCES
Get innovative programming ideas, conducting concepts, and inspiration for future performances.
Advertising/Exhibits Manager: =DFKDU\ *HUVFK | ]JHUVFK@tmea.org Membership Manager: Susan Daugherty | susand@tmea.org Communications Manager: Karen Cross | kcross@tmea.org Financial Manager: &ULVWLQ *DIIQH\ | cgaffney@tmea.org Information Technologist: Andrew Denman | adenman@tmea.org Administrative Assistant: 5LWD (OOLQJHU | rellinger@tmea.org
70($ 2IÀFH Mailing Address: 3 2 %R[ $XVWLQ Physical Address: 7900 Centre Park Drive, Austin, 78754 Phone: 512-452-0710 | Toll-Free: 888-318-TMEA | Fax: 512-451-9213 Website: www.tmea.org 2IÀFH +RXUV Monday–Friday, 8:30 A.M.–4:30 P.M.
480+
EXHIBITORS
Make hands-on comparisons before you buy. Budget dollars stretch further in our exhibit hall.
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Southwestern Musician | November 2019
Love Your Reeds
2020 TMEA PRESIDENT’S CONCERT THURSDAY, FEBRUARY 13 • 8 PM • LILA COCKRELL THEATER The Dallas Winds is the leading professional civilian wind band in the United States today. The ensemble is under the inspired leadership of Artistic Director and Conductor Jerry Junkin, who is in his 25th season with the ensemble and 30th
year with the University of Texas at Austin. The Winds makes its home in one of the world’s greatest concert halls, Dallas’s Morton H. Meyerson Concert Center. Learn more about them and listen to their recordings at www.dallaswinds.org.
Tickets: $20 | General Admission Purchase tickets when you register for the TMEA Clinic/Convention, or anytime following by returning to your member record. Ticket pickup will be at the convention Information Booth.
Learn more at www.tmea.org/presidentsconcert.
Deep in the heart of texas
Artistic Director Jerry Junkin
r u o Y Get s t e k c Ti ! y a d To
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Southwestern Musician | November 2019
B Y
J O E
M U Ñ O Z
PRESIDENT’S NOTES
A season of thanks
A
November—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 23—TMEA convention online early registration deadline. February 12–15—TMEA Clinic/ Convention in San Antonio.
s the weather starts to turn and we begin the final stretch of the first semester, we enter a time when we find moments to give thanks for many blessings, including those afforded us through music. This year’s editions of Southwestern Musician have offered us glimpses into TMEA’s rich history as we observe our association’s centennial. These are mere highlights of our significant growth and anecdotes about our association. I have previously written about how our past members and leaders have set the foundation for our progress as an organization, and this growth has also led to the quality of the programs in our state. Their influence has also been an important part of our continued pedagogical growth and how we deliver music instruction to our students over the years. We should all be grateful for those who have helped set such a strong foundation for our future. As my students reach this time of the year, I ask them to reflect on the teachers who have been essential to their musical growth. I encourage them to reach out and thank those who have helped them develop into the mature musicians they are today. Do we do the same for those who helped shape who we are as music educators? Who has made music special for you? I’m sure we can all identify teachers and mentors at every level of our development, from elementary to higher education institutions, who deserve our appreciation. I encourage you to reach out with a simple sign of thanks for their contribution to your success. We often forget that a simple written expression of thanks
Giving thanks to the students we teach can be a wonderful way to build a grateful culture in our music programs. Southwestern Musician | November 2019
5
can help validate an educator’s contribution to something greater than the area of their content. I know when I engage in this endeavor, I find myself reflecting and smiling as I write my thoughts. The great memories that make you smile will also bring a smile (and possibly tears to the eyes) to the person who receives and reads your words. I have been overcome by emotion when I receive letters or cards like this. The profound feeling of someone taking the time to share their appreciation for what you provided them reinvigorates you to continue your incredible passion for
sharing music education. Giving thanks to the students we teach can be a wonderful way to build a grateful culture in our music programs. When we are preparing our musical content, we can forget to thank those who deserve it the most. I’ve worked overtime to make sure to offer that thanks to my students on a regular basis. It came full circle a few years ago when a student wrote in a graduation letter that she would never forget to thank her students like I did. She went on to write that I made sure to thank my students at the end of every rehearsal for
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Southwestern Musician | November 2019
our time together. Sometimes it’s a simple thank-you at the end of a rehearsal. Other times, I take more time to go in greater depth, thanking them for their time and talent, for their dedication and focus, and for devoting time when they are inundated with other coursework. That student helped me recognize that consciously deciding to make that a part of my classroom culture transformed me into doing it at every rehearsal without my even realizing it. Now my students often thank me at the end of our rehearsals—one even does so following every rehearsal! When the culture shift happens, it is a profound moment in our professional journey, and it starts with a simple decision to make that important. I would also like to express my sincere appreciation and gratitude to the TMEA staff. We have a collection of incredibly talented people who handle the daily running of our association. They also go above and beyond to serve our members, students, exhibitors, and anyone who contacts TMEA. They are absolutely world-class! Most of our membership will never know the battles fought on their behalf on a yearly basis to protect music education and fine arts education for all. I hope you will join me in extending appreciation to the TMEA staff and letting them know how thankful we are that they are part of the TMEA family! Finally, on behalf of the Executive Board, I would like to thank each music teacher for your contributions to providing every child a quality music education. We hope you all have a wonderful Thanksgiving! 2020 TMEA President’s Concert I hope you have purchased tickets to attend our 2020 TMEA President’s Concert featuring Dallas Winds under the direction of Jerry Junkin. Their program entitled “Deep in the Heart of Texas” is being programmed in honor of TMEA’s Centennial. This concert will be Thursday, February 13, at 8 p.m. in Lila Cockrell Theater. Tickets are $20 and you can purchase when you register for the convention or by returning to your member record after registering and making this purchase. All tickets are general admission and will be available for pickup at the Information Booth in convention registration during registration hours.
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EXECUTIVE DIRECTOR’S NOTES
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Fine arts, policy, and rule in our history
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ne of the contributors to the strength and quality of music and arts education programs in our state has been TMEA leaders through the years fighting for protection of the arts in state law and state board of education rule. In the early years, our predecessors got involved in advocating for music education primarily by the membership adopting resolutions that were shared with our state political leaders and decision makers. Karen Cross’s recap of TMEA’s history in the 1920–1940 era, featured in the September issue, covers many of those early skirmishes. I encourage you to read or even revisit those in her informative article. The following are some other important moments in our legislative history: 1932—A TMEA resolution was passed to create a position of state supervisor of instrumental and vocal music in the Department of Education. In 1939, TMEA continued to recommend a full-time state director of music to the state department of education but with no success. After many attempts, it wasn’t until 1950 that TMEA finally successfully appealed to the SBOE and Commissioner for a full-time state supervisor of music. 1941—Our leadership recommended to the State Department the development of choral music in senior high schools and the employment at each high school of a full-time teacher with training in such work. The 1941 resolution also recommended a graded text for music in grades one through eight. 1949—TMEA passed a resolution calling for music teachers to be identified as special service teachers as a part of the Gilmer-Aikin Bill, a hallmark piece of
We are indebted to our leaders of the past for making the protection of fine arts in state policy such a priority. 8
Southwestern Musician | November 2019
November—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 23—TMEA convention online early registration deadline. February 12–15—TMEA Clinic/ Convention in San Antonio.
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On the April 1981 cover of Southwestern Musician Combined with the Texas Music Educator legislation that revolutionized public education in Texas. But opposition from our own members spoke to music not being referred to as “special” but as “belonging.” The outcome of that debate was unclear. 1959—At the 1959 convention, a resolution adopted by the membership called for the arts to be included in the Recommended Curriculum in the Texas Education Code. Fine arts was the only subject omitted, but it was soon added without significant lobby effort on the part of TMEA. Fine arts was finally gaining a foothold as a part of the legitimate academic curriculum. 1979—TMEA’s involvement in the political arena took a significant step forward when word was leaked from TEA staff that a bill was moving through the legislature that could have a major negative impact on arts education. Via phone trees and a mass postcard mailing, notice went out to thousands across the state to 10 Southwestern Musician | November 2019
call their legislator and ask them to vote against HB 921. Within 24 hours the bill was dead, and TMEA and other arts education associations had made their presence known at such a high level for the first time. Political fence-mending went on for months, with the bill’s angry author ultimately becoming an ally and friend of fine arts at the capitol, even writing an article of support for arts education that was published in the June 1980 issue of our member magazine. 1981—At a board meeting the Executive Board asked the President and Executive Director to investigate the feasibility of authoring a fine arts bill to be submitted to the legislature during the 1981 session. With the assistance of Robby Collins, Deputy Superintendent and lobbyist for Dallas ISD (who traded his political expertise for free piano lessons for himself and his daughter), HCR 105 was adopted. It spoke to the value of music and arts edu-
cation. In addition, HB 246, supported by TMEA, was passed. It wiped the slate clean of courses required to be offered and developed a whole new list that included fine arts. TMEA testified in support of this bill and lobbied for its adoption. 1983—TMEA was actively involved in all the issues related to the No Pass No Play rule (HB 72). To protect the curricular, academic delivery of instruction in the classroom, TMEA was the first organization to acknowledge that aspects of our programs, such as trips, competitions, and marching band were extracurricular. The Senate Education Committee looked at Bryce Taylor, speaking for TMEA, in disbelief. It was a major breakthrough in elevating our credibility and respect for our discipline in the eyes of the legislative leadership. Early 1990s—TMEA successfully appealed for the inclusion of a fine arts requirement in the Recommended High School Graduation Program. 1995—During the rewrite of the Texas Education Code, TMEA and other enrichment subject associations successfully lobbied to have fine arts included in the required curriculum as a TEKS-based subject “all school districts must offer.” We fought our way back from an initial position of fine arts being a subject that may, not shall, be a part of a recommended, not required, curriculum. 2002—TMEA successfully appealed to the State Board of Education to limit the minutes of elementary physical education required per week to 135, thus protecting the 45-minute rotation schedule. 2003—TMEA led the effort to pass SB 815. TEKS would now be required for fine arts courses, and TEKS were no longer just a guideline; educators were required to deliver 100% of them through instruction. This bill also mandated music, art, and theatre be taught in grades K–5. 2005—TMEA fought successfully to protect funding for fine arts instructional materials that districts had to provide. 2006–2007—TMEA worked with the legislature on SB 530 to limit physical activity requirements to four semesters in middle school and with the SBOE to draft rules for the bill implementation to protect elective choices for students. 2009—TMEA worked with legislative leadership to host a special hearing in a packed Senate chamber with Dan Pink speaking to the role of creativity and the
arts in preparing a 21st-century workforce. Pink’s position was validated by brief testimony from an IBM master inventor with 100 patents to his name, the chief engineer of the international space station, and the director of education for AT&T. 2009—TMEA led the effort to convince the legislature to retain the one-credit high school fine arts graduation requirement and to add a fine arts course requirement for middle school for the first time in Texas law. 2009—TMEA successfully convinced the Select Committee on Public School Accountability to include fine arts in the distinction tier as a part of the new school accountability system. 2011—TMEA worked with Raise Your Hand Texas to create the model for the current Foundation High School Program that includes an Arts and Humanities endorsement. 2013—TMEA supported the passage of HB 5 that created the Foundation High School Program as well as the language that limits removal from our classes for test preparation and remediation. We also worked closely with the SBOE and TEA for four months to write the rules for the implementation of the new graduation program. 2019—UIL Concert and Sightreading Evaluation was removed from under the auspices of No Pass No Play. TMEA leaders had championed this change for years, leading to this decision by the Commissioner of Education. Dedicated Advocacy Through the years, TMEA has experienced other successes with issues such as textbook funding, instructional materials allotment funding usage, limitation of CTE courses to meet the fine arts graduation requirement, number of middle school fine arts courses that must be offered, SBEC teacher preparation rules, and UIL support when under attack by key legislators. In 1993, TMEA hired its first part-time lobbyist (shared with the PTA). Since that time, we have kept at least one lobbyist on retainer to support our work at the capitol. The laws and rules that govern education come in two parts. Laws that govern education make up the 1,600 pages of the Texas Education Code. Those laws are crafted and adopted by the 31 Senators and 150 House members. As a sidebar, it takes
approximately 48 steps for a filed bill to makes its way through the process and to the governor’s desk (with only about 20% completing that journey). The State Board of Education, an elected body of 15, writes the rules that school districts follow to carry out the law. They also develop the rules that contain the TEKS and define the implementation of graduation programs. The Commissioner of Education is charged with writing rules on subjects such as extracurricular activities and the accountability system. All are equally important in protecting our pres-
ence in the public schools of our state. In our history, no legislator has purposely filed a bill that directly attacked arts education. Rather, it has been wellmeaning policies, intended to cure the ills of teaching and learning in the public school classroom, that have caught us in the backwash. We have learned, however, that if we are not protected in law and state board rule, winning the advocacy battles at home are much more challenging. We are indebted to our leaders of the past for making the protection of fine arts in state policy such a priority.
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n 1963, TMEA Executive Secretary Joe Lenzo wrote to school administrators suggesting there was a basic misunderstanding between directors and their administrators with regard to what music programs should be offering students. He invited these administrators to submit a short statement on “What I expect from my music program” to be published in our member magazine. Just as it’s been throughout the history of our school music programs, administrator understanding and support is a critical component of providing a quality experience in music and fine arts for the students in any school district. Enjoy these over 50-year-old responses that continue to ring true today. DANA WILLIAMS, SUPERINTENDENT, CORPUS CHRISTI ISD In the changing society in which we find ourselves today, there is a lot of debate on the question, what shall we teach and to what end? We, as public school leaders, must make sure that we keep balance in our curriculum. Music should be an integral part of that curriculum. All students should be encouraged and given an opportunity to develop an understanding, love, and appreciation for music. This can only be done by having a well planned, adequately staffed music program in grades 1 through 12. GILBERT MIZE, SUPERINTENDENT, PERRYTON ISD I expect the music program in our schools to shape a part of the life of every child in this community. I expect it to not only develop and train those who are gifted with special talents in music, but also to be equally concerned with those who have no musical talent. There are many of the latter group who will never be able to create or contribute in any way to the musical enjoyment of those about them; but with a background of music education their role as listener becomes more pleasurable, and a quality of living is theirs that otherwise would not exist. We recognize the place of music in our curriculum as a neces-
sary part of a child’s public school training, along with science, mathematics, and the languages which are receiving so much emphasis today. However, we do not minimize the importance of these areas. Our music directors do not encroach upon the students’ time to devote to other fields, but devote only one hour per day to music. We expect our music teachers to recognize the fact that there are other important facets to the child’s educational growth, and that they, as members of a team, share with the other teachers the responsibility for the complete development of every child. NOEL GRISHAM, SUPERINTENDENT, ROUND ROCK ISD When a school administrator moves into a new district and faces the challenge of improving the services for which schools were invented, what does he do and where does he begin? Respecting the past as a profitable prologue to the future, this author recalled a firm conviction of Plato. A fundamental belief of the ancient philosopher concerning the value and influence of good music was accepted and employed. The result in the Round Rock Independent School District was that when the music program was improved, the rest of the school curriculum improved in immediate succession. What happened in the space of six years in Round Rock Schools is believed to be worth sharing with others, and some adopted thoughts from the past, considered worth keeping alive. An evident need for academic upgrading was reflected by low student achievement in virtually all curriculum areas. Community morale was low. An attempted bond issue for providing money for new buildings and for purchasing needed equipment had met with disastrous defeat. The community had been divided seriously over the matter of local financial support of education. School– community climate was such as to be conducive to continuing apathy and indifference toward the schools. The local taxpayers Southwestern Musician | November 2019 13
were paying about the same amount of school taxes as they were paying 20 years earlier when the schools had only one-third as many students. Some would even say they were already paying more for schools than the schools were producing. It was against such a community setting that a new beginning had to emerge. Accepting the ancient Platonic formula, the Superintendent proposed to the school board that fiscal and moral support be granted from limited funds for the improvement of the music program. It was emphasized that improvement of music could be a beginning place and set the pace for other curricula. The budget was manipulated in such a way that necessary band instruments, equipment, and materials were made available. Successful and competent music teachers were carefully selected. As the music classes and contest results and ratings began to reveal marked improvement, and as students and teachers experienced a taste of excellence, favorable attention was attracted throughout the schools and the community. Student morale and attitudes began indicating a readiness for taking further steps in compliance with a vigorous and realistic discipline policy recently developed. National test scores, teacher marks, and UIL literary contest results revealed steadily increasing achievement. The Iowa Test of Educational Development, for example, showed an upgrading of the school’s average development from the bottom quartile to the top quartile on the national norm. Instead of one or two first places won by high school students in interscholastic literary contests as in previous years, Round Rock students amassed fifteen first places in 1963—virtually all that was possible to win. First, excellence was experienced in music. Then followed achievement in literary and athletic pursuits. Furthermore, by now discipline problems had virtually disappeared. The previously apathetic public approved by substantial margins three bond issues within five years for new buildings, equipment, and supplies. For Plato, music was only one, although the leading one, of many disciplines which were necessary in the overall experiences of youth to elicit acceptance of such ideals as desire for excellence and an insatiable quest for perfection, harmony, and order. Schools, therefore, should have a twofold interest in music training and experience. First, interest is for intrinsic values of music accruing to youth; and second, interest is for the overall, pace-setting effect on students, teachers, and the community. Something well done, as a powerful influence for good in general, may be more nearly demonstrable for music than for other curricula. Such a concept has been a philosophic thesis in Round Rock Schools.
Nominate your outstanding administrator for a TMEA Distinguished Administrator Award. Through this recognition program, 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. Nominate your campus or district upper-level school administrator by completing an online nomination.
www.tmea.org/adminaward 14 Southwestern Musician | November 2019
DR. JOHN W. MCFARLAND, SUPERINTENDENT, HOUSTON ISD (Excerpts from an address he offered at the 1964 TMEA Convention were printed.) Welcome to Houston, where music is loved and cherished, where music is important, and where boys and girls in our public schools sing and produce music, each according to his own talent, ability, and interest, and where all pupils learn to appreciate and enjoy good music. We want you to enjoy your visit here and want you to know that we appreciate the opportunity our many music teachers in Houston and the Gulf Coast area have to participate actively in these meetings and to profit from the instruction that is available. I hope that you will agree with me that in order to achieve quality in your music education, we must first have well prepared, understanding teachers; and secondly, time for teaching, participating and learning in music; third, collaboration from other departments, from the general school, and the administration; fourth, an intelligently planned program for music; fifth, enthusiasm and support for the music program, and an encouraging environment. Clearly, you have achieved a great deal of success in stimulating interest among the general population of the schools in music. Hail to the power of the specialist! In 1964 everyone respects a specialist who knows his business. A specialist in music who knows how to produce good music, who can perform well, and who can get boys and girls to perform well will be respected by all of us. We are indeed living in the age of specialization—efficiency and effectiveness are enhanced by specialization, and whether you are in a big city school system where there are a number of varied specialists or in a school system where you are the music supervisor, or the music teacher, you are a specialist in the eyes of your colleagues. You stand for music in their eyes. You have one very valuable way for improving interest in music in that you have your students in organized musical groups, choirs, bands, and orchestras, and this talent can add beauty to various occasions. I am certain that at times it must be a terrible nuisance to be called upon to have an ensemble play for the Chamber of Commerce luncheons, the ladies’ tea, PTA meetings, the Teachers Association meetings, and for anything else that happens in the community. I know it is burdensome. We call upon you for many preparations, many rehearsals, much practice, and the organizing of these programs is a terrific job, but it is worthwhile! In bringing your pupils out for performances you are selling music for the rest of us who learn to love music by hearing your students. Accept the idea that music is sometimes the setting for the meeting of teachers of mathematics or the PTA or the Chamber of Commerce, and make that setting beautiful for them. Open their ears to beauty and they will begin to appreciate good music. Be persistent in your efforts to stimulate interest in music. Be persistent and diligent in your search for music talent among the pupils; in every school system there are talented musicians, and one of your purposes is to search for and discover this talent.
TEXAS LUTHERAN UNIVERSITY SCHOOL OF MUSIC
SCHOLARSHIP AUDITIONS Scholarships are available for both music and non-music majors. These awards are intended to provide recognition for scholarship and talent in the study of music. For specific qualifications for each award, visit www.tlu.edu/music-scholarships.
SCHOLARSHIP AUDITION DATES: Saturday, November 16, 2019 TLU Performing Arts Scholarship Invitational Saturday, February 22, 2020 | 1-3 p.m. Saturday, March 28, 2020 | 1-3 p.m. Saturday, April 18, 2020 | 1-3 p.m. Individual audition dates may be requested if necessary.
SCHOOL OF MUSIC DEPARTMENT HEADS
Elizabeth Lee Asst. Professor, Cello
Douglas R. Boyer Director, School of Music and Director of Choral Activities dboyer@tlu.edu 830-372-6869 or 800-771-8521
Wei Chen Bruce Lin Asst. Professor, Piano
Beth Bronk Director of Bands bbronk@tlu.edu
Scott McDonald Instructor, Saxophone & Jazz Band
Shaaron Conoly Director of Vocal Studies sconoly@tlu.edu
Carla McElhaney Asst. Professor, General Music
Eric Daub Director of Piano Studies edaub@tlu.edu Eliza Jeffords Director of Strings ejeffords@tlu.edu
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FACULTY Mark Ackerman Instructor, Oboe Adam Bedell Instructor, Percussion Carol Chambers Instructor, Music Education Paula Corley Instructor, Clarinet
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Deborah Mayes Choral Accompanist
Chad Ibison Asst. Professor, Guitar Hilary Janysek Asst. Professor, Flute & Music History Monica Kang-Sasaki Asst. Professor, Piano
Jill Rodriguez Instructor, General Music Robert Mark Rogers Asst. Professor, Bassoon Shaunna Shandro Asst. Professor, Voice Eric Siu Asst. Professor, Violin Sophie Verhaeghe Instructor, Violin Steven Vogel Instructor, Trombone & Euphonium Lance Witty Asst. Professor, Trumpet Simeng Wu Asst. Professor, Collaborative Pianist
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B Y
J O H N
BAND NOTES
C A R R O L L
What do we offer?
W
November—Renew your membership and register for the convention. November 1—TMEA scholarship online application deadline. November 9–10—All-State Jazz judging. December 31—TMEA email/mail/fax convention preregistration deadline. January 11—Area Band and Vocal auditions. January 23—TMEA convention online early registration deadline. February 12–15—TMEA Clinic/ Convention in San Antonio.
hen faced with local and global crises of our time, it can be difficult to understand how we can make a difference. We’ve experienced unimaginable active shooter tragedies (including within walking distance of where I live) and hurricanes wreaking havoc in southeast Texas. Our students return home to parents and nonchalantly recount the lockdown drill of that day (the younger ones not ever knowing a different time). Some students are unsure which parent they are going home to that night, and many have at least one friend who is subjected to some type of abuse. Others are going through the throes of “puppy love” or broken social relationships, with bullying still a pervasive issue despite our enlightened efforts. How can we offer them solace, fun, joy, or happiness? Can we provide some experience of stability? Are we giving them sound pedagogical training to get proficient on an instrument? Are we giving them firm, yet caring, discipline? Are we offering life lessons, such as the value of keeping up in classes, attendance, punctuality, meeting deadlines, and teamwork? Do they leave us having learned lessons in understanding that something—music—speaks at times when words are insufficient for the situation? Are we letting them see that music can be fun as well as soul-stirring? Are we giving them something through which to enjoy life more? We teach many students who are searching for something to cling to. And we unfortunately don’t reach them all. I am not so naive as to presume that
Are we giving our students something through which to enjoy life more? Southwestern Musician | November 2019 17
after having experienced violence in their world that their lives are made perfect by being in band. I am not suggesting that a student being bullied will automatically be healed of that pain just by being in our classes. But perhaps we can at least make some part of their lives a little better. Perhaps we can be soothing while chaos abounds elsewhere. Maybe, just maybe, we can give them a little something simply to enjoy. Maybe we can give them something to hold on to. For that matter, we teach many students who come from stable backgrounds, who are mature beyond their years, and who simply love music for music’s sake. They cope well with the stress in their lives, and perhaps they don’t need band or some other fine arts class in the same way that others do. What do we offer these students? Is it possible that, from time to time, we need to ask ourselves what kind of student needs the kind of help we can offer? Some students thrive on competition (as an ensemble and as an individual), some live for the adulation of a concert or halftime audience, some adore the praise from their parents, and some simply enjoy making music on their instrument. The best direc-
tors in the state—I could name so many of them—understand this. And they give to their students exactly what those students need. Some require more attention than others, and some are simply happy to make music with friends and alone. I admire so many members of our profession who know how to discern that, and how to respond to it in their classrooms. What are our students’ needs? Sometimes it is a just a gentle smile or nod; other times it is a reprimand peppered with kind firmness. Sometimes it is just having an environment where they can flourish on their instrument. Whatever it is, may we always strive to recognize and respond to it! 2020 Convention Updates It is not too late to volunteer to work at the TMEA Clinic/Convention in February. The Band Division can always use help. You may volunteer at www.tmea.org/ bandvolunteer. Please consider volunteering, and if you have already done so, thank you. TMEA staff can also use your help with convention registration. Check that box and be one of the first faces attendees see when they arrive at this special event!
President’s Concert: Dallas Winds If you haven’t already, be sure you purchase tickets to Thursday’s President’s Concert featuring Dallas Winds under the direction of Jerry Junkin. This amazing professional wind ensemble will present a special program entitled “Deep in the Heart of Texas” in honor of our centennial. $20 tickets are general admission and may be purchased when you register for the convention. If you already registered, you can return to your member record to purchase them. Specialty Instrument Audition For the 2020 All-State Bands, we will hold specialty instrument audition for contrabassoon. Audition material is on the All-State Band audition etudes page and instructions for submitting a recording for this audition are also on that page. TMEA Honor Bands I am very pleased to introduce the 2C, 3C, 3A, and 5A Honor Bands. I hope you will support these wonderful directors and their exemplary students by attending their concerts during our convention. Look for news about our invited university
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Southwestern Musician | November 2019 19
bands, invited jazz ensembles, and invited percussion ensemble in future issues of Southwestern Musician. 2C Honor Band Roma MS Symphonic Winds, Roma ISD Located in Roma, a port of entry from Mexico into the U.S. via the Roma-Ciudad Miguel Alemán International Bridge, Roma ISD consists of six elementary schools, two middle schools, one high school, and one alternative learning center. Roma ISD is a 2019 H-E-B Excellence in Education Small District Award finalist. The Roma band program was established in 1994. Sixth grade students are enrolled in homogenous beginner classes, and seventh and eighth graders are placed by audition into an ability-based performing ensemble. Roma MS bands are consistent UIL Sweepstakes award winners and are wellrepresented at the TMEA Region XV band auditions. These bands have earned numerous best-in-class and grand champion honors at festivals across Texas. The Symphonic Winds has been named a National Winner in the Mark of Excellence
National Wind Band Honors competition six times and have been finalists in ten consecutive TMEA Honor Band contests. The Symphonic Winds was invited to perform at the 2016 Midwest International Band and Orchestra Clinic and named a 2018 Rio Grande Valley Program of Distinction. The RMS Symphonic Winds is under the direction of Corey L. Graves. He holds a bachelor of music education degree from Stephen F. Austin State University and master of music in performance degree from the Ohio State University. 3C Honor Band Cockrill MS Honors Band, McKinney ISD Cockrill MS is located in McKinney (about 30 miles north of Dallas) and currently serves over 1,300 students in grades 6–8. Founded in 2008, the Cockrill MS Band program has earned both statewide and national recognition in its relatively short history. The program consists of three performing 7th–8th grade bands and one large beginner band. There are over 360 students enrolled in band at CMS and they are involved in a variety of other
school activities such as athletics, cheerleading, art, choir, drama, orchestra, yearbook, and National Junior Honor Society. The Cockrill MS Band program has consistently earned superior ratings at UIL Concert and Sightreading Evaluations and bands have been named best-in-class at festivals around the Dallas/Ft. Worth area. In 2015, 2017, and 2019, the Cockrill MS Honors Band advanced to the state level of the TMEA Honor Band competition. In December 2016, the CMS Honors Band was invited to perform at the 70th Annual Midwest Clinic in Chicago, and in 2018, the John Phillip Sousa Foundation awarded the Cockrill MS Band the prestigious Sudler Silver Cup. Cockrill Band Director Gary Williams has been with the school since its opening in 2008. He has taught public school in Texas for 20 years and is a member of TMEA, TBA, TMAA and Phi Beta Mu. 3A Honor Band Mineola HS Band, Mineola ISD Mineola HS is a 3A school district located in the beautiful town of Mineola, 20 miles north of Tyler in East Texas. The Mineola Yellow Jacket Band has seen
Roma MS Symphonic Winds
Cockrill MS Honors Band 20 Southwestern Musician | November 2019
2020 AUDITIONS
Admission and scholarships/assistantships available + November 16 + February 1 + February 22 + March 7
music.txstate.edu 6GZCU 5VCVG 7PKXGTUKV[ VQ VJG GZVGPV PQV KP EQPÆ&#x192;KEV YKVJ HGFGTCN QT UVCVG NCY RTQJKDKVU FKUETKOKPCVKQP QT JCTCUUOGPV QP VJG DCUKU QH TCEG EQNQT PCVKQPCN QTKIKP CIG UGZ TGNKIKQP FKUCDKNKV[ XGVGTCPUo UVCVWU UGZWCN QTKGPVCVKQP IGPFGT KFGPVKV[ QT GZRTGUUKQP 6GZCU 5VCVG 7PKXGTUKV[ KU C VQDCEEQ HTGG ECORWU
recent success at UIL State Marching Contest, with a Bronze Medal in 2015 and the Gold Medal in 2017. The band has also brought home UIL Sweepstakes awards the last consecutive seven years, a first since 1995. The band advanced to Area OPS for the first time in school history in 2015 and to state in the march category in 2016. The band won the concert category with two pieces in 2017, one in 2018, and one in 2019. The band also was a state finalist in the 2017 Honor Band Competition. Directors are Chris Brannan, Dago Gonzalez, Heather Chitty, and Austin Brannon. Head Director Chris Brannan is a graduate of the North Lamar Band Program in Paris, Texas, and a former student of Randy Jones. The band program has seen growth the past few years with
325 band students in grades 6–12, and the high school band has grown to over 100 students, as they represent the Mineola Community as the “Sound of the Swarm.” 5A Honor Band Lopez HS Symphonic Band, Brownsville ISD Lopez Early College HS (LECHS) opened its doors in the fall of 1993 and is one of seven high schools in Brownsville ISD. Located in the lower Rio Grande Valley, LECHS serves just under 2,000 students in grades 9–12. In 2014, Lopez HS was designated a TEA Early College HS and awarded the Ford NGL designation for fine arts, engineering, health science, and agriculture programs. Students in BISD can enroll in beginner
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band in the sixth grade. The middle school feeders are Besteiro MS (with directors Lucille Trevino [head], Carlos Cisneros, and Noe Garcia) and Lucio MS (with directors Genesis Carpio [head], Arture Rivas, and Joshua Losoya). The directors at Lopez HS are George Trevino, Ramon Vasquez, Mike Garza, Sam Carpio, Jason Watkins, and Monica Vasquez. Trevino will complete 32 years teaching band this year, 26 of which are at Lopez HS. The band program consists of the Lobo Marching Band, the Symphonic and Concert Bands, the Jazz Orchestra, and winter drumline and color guard programs. Throughout the school’s history, the concert ensemble has consistently earned UIL Sweepstakes awards. The Symphonic Band’s primary focus is studying and performing quality wind band literature. This ranges from staples of the repertoire to many orchestral transcriptions for wind bands. The Symphonic Band has advanced to the TMEA Honor Band state finals 12 times and was previously selected as the 4A Honor Band in 2004 and the first ever 6A Honor Band in 2017.
Mineola HS Band
Lopez HS Symphonic Band 22 Southwestern Musician | November 2019
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Developing Musicians Through Healthy Competition
by Greg Countryman
T
he purpose of our instruction should be to help students improve as musicians and at the same time help them develop the personal character traits and habits that will make them successful in all their future endeavors. Any competition should be viewed as an opportunity to accomplish this goal and be used as a tool to help students improve their individual and ensemble skills. With society’s preoccupation with winning, music educators must emphasize that our goal is the development of student musicians—awards and recognition are never at the center of our focus. If winning is our goal, students won’t recognize the value in their improvement or get a sense of success until they win. The following true story offers a good example of why competition should never be our prime motivator. A director learned that a student was going to quit high school band their senior year, so he decided to speak with the student to see if he could change their mind. During the conversation, the student commented they still enjoyed playing their instrument, but didn’t enjoy band anymore. The student said the director was always trying to get them to work harder so they’d win some competition, but since the band seldom placed first, most students didn’t believe they were successful. They didn’t think they were meeting their director’s expectations, so they weren’t satisfied with or proud of their accomplishments. Since competitions typically name only one winner, as this example illustrates, students and directors will be disappointed if that is their primary goal. We should instead turn our focus to weekly progress and small successes achieved in preparation for an audition or competition. With this approach, students experience a series of accomplishments, and success isn’t determined by the competitive outcome. The students’ goal will be to meet the director’s expectation of continuous improvement—achievable with adequate preparation. 24 Southwestern Musician | November 2019
Of course, it’s expected that students will want to win, and that’s okay as long as winning is a byproduct of effectively preparing for the competition rather than the only goal. A Plan and a Timeline The best way I’ve found to make competition preparations effective is to provide structure through a sequential plan. Students often procrastinate, so provide a timeline that includes weekly assignments to hold students accountable for their progress. Make assignments cumulative so they are eventually expected to be able to perform any portion of the audition music. Teach the notes, rhythms, and broad musical concepts in sectionals, and work with students individually to address their specific needs and more detailed aspects of musicality. Provide opportunities for the students to perform for other students, an audience, or judges either during class with mock auditions or at concerts. Instructional Suggestions Regardless of whether you are teaching students individually in section rehearsals or in full ensemble, many of the ideas presented here are effective teaching strategies for improving students’ individual playing skills and their understanding of ensemble concepts. It is important to address basic playing fundamentals and ensemble concepts during warmups and daily drills, as well as while the music is being taught. This is a great opportunity to work on improving tone quality and maintaining a characteristic and consistent sound in all registers—one of the most important aspects of developing outstanding musicians and a mature ensemble sound. Through your instruction, model how the students should practice at home. Teaching them to be effective and efficient with their practice can help eliminate frustration and maximize progress. It
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is also a good idea to have students model various aspects of the music. This provides an opportunity for the teacher to hear students individually, and it motivates students to practice since they might be in the spotlight at the next section rehearsal.
the separated style. Incorporate articulation and note-length exercises into your daily warmup to teach various styles before having the students incorporate them in the music. Understand that all students may not be able to perform the styles at the
When success and improvement—not necessarily winning—are part of a sequential process that is planned and structured, competition can be healthy and beneficial. Start your instruction by focusing on notes and rhythms, using a counting system to ensure students understand what they are reading on the page of music. Have students count rhythms aloud to demonstrate their understanding of rhythmic notation. Have them say letter names and finger the notes on their instruments while counting the rhythms. Each of these techniques helps ensure students are strengthening their music-reading skills, not learning the music by rote. This will enable them to learn music more quickly in the future. At the initial stages, I believe it is more productive to learn the music at a slower tempo, so students have time to process the various aspects of the music concurrently. For separated style, you might first teach the music as slurred or with legato-tonguing so students can hear the full body of sound on each note, and then introduce
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same level of mastery. For less experienced students, be willing to accept a less refined style if that is needed for them to maintain a characteristic sound on all notes. While much of the focus in early rehearsal stages is on learning notes, rhythms, and style, students must be introduced to the composer’s intent, history of the work, and architectural form from the onset. Introduce shaping of phrases, dynamics, accents, and other effects in section or small group rehearsals. For students to refine these more advanced skills and develop their own sense of musicianship, you’ll likely need to work with them individually. Some students have an innate sense of musicality, but most will need to be taught that music is in constant motion and is usually either moving toward or away from a stress point in a phrase. They need to understand that as we move toward
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a stress point, music tends to crescendo and the tempo may slightly increase, creating a feeling of tension or anticipation. After reaching an arrival point in a phrase, the music tends to decrescendo and slow slightly in tempo, which creates a feeling of relaxation or calmness. Discuss how the music must “breathe” or “ebb and flow.” One of the best ways to help students understand musicality and shaping of phrases is for the instructor to perform the music for them on their primary instrument. Allowing the students to hear a phrase intensifying and then relaxing has much more meaning and impact than talking about it. Peer tutoring is another way to get your less experienced players some extra help, but it has other benefits as well. When a student is responsible for teaching a concept, they develop a better understanding, which in turn improves their musicianship. The tutor and the student being tutored each benefit from this mode of instruction. Students working together in pairs also helps them develop a sense of camaraderie, trust, friendships within sections, and a sense of ownership. This leads to better teamwork and ultimately stronger individual musicians and a stronger ensemble. If you teach a student who is struggling, first try to determine if the difficulty is based in a lack of practice and preparation or if the student just needs more time to develop the necessary skills. If a lack of effort is the issue, you must find a way to motivate the student to work harder without discouraging them. If the student needs more time, then remain patient and never give up, because students develop at different times and rates. When success and improvement—not necessarily winning—are part of a sequential process that is planned and structured, competition can be healthy and beneficial. When competition is used as an instructional tool, not an outcome, you will find that students can make tremendous improvement in their individual and ensemble playing skills, their level of confidence, their overall musicianship, and most importantly, their enjoyment of playing their instrument and being a member of the ensemble. Greg Countryman is Executive Secretary of TMAA and a recently retired band director.
2020 TMEA Clinic/Convention
Fe b r u a r y 12–1 5 • S a n A n to n io W W W.TME A .OR G/CONVENTION Celebrating Our Centennial! This extraordinary event features over 300 workshops by nationally recognized clinicians for band, orchestra, vocal, elementary, and college educators, more than 100 performances by the state’s finest musicians, ĊÌ ďĊÐ æðĊĴ ÐŘìðÅðĴ ìăă ťăăÐÌ œðĴì ďŒÐī Ǡșǣǟǟ ÅďďĴìĮ representing all facets of the music industry. The TI:ME Music Technology Preconference is held in conjunction with our convention. Learn more about the latest music technology solutions. This Wednesday event offers a full day of music technology clinics ($50 separate registration).
Early Registration • • • • •
Active music educators: $60 Retired music educators: $20 College students: $0 ($25 membership) Out-of-state attendees: $110 Technology preconference: $50 Dec. 31: Last day to email/fax/ postmark a convention registration.
Other Opportunities When you register, you can purchase these additional items: • Family member badges: $10 each non-music educators only • ăðĊðÆ ťăÐ ķÌðď ÆÆÐĮĮȚ ɄǠǟ • President’s Concert tickets: $20 Dallas Winds (see page 4 for details)
After January 23 Active music educator fee increases to $80; Out-of-state to $130.
! y a d o T r e Regist B A ND • OR CHE S T R A • V O C A L • E L E ME N TA R Y • C OL L EGE 28 Southwestern Musician | November 2019
THE BEST PLACE TO LEARN!
WWW.TMEA.ORG/CONVENTION Learn about clinics, performing groups, and exhibitors. Southwestern Musician | November 2019 29
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B Y
M I C H A E L
S T R I N G E R
ORCHESTRA NOTES
Leadership part 1: fill the bucket
O
November—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 23—TMEA convention online early registration deadline. February 12–15—TMEA Clinic/ Convention in San Antonio.
ne of my former administrators often shared a mantra that “80 percent of a program’s success is a result of the person on the box.” I always looked at this statement from an instructional point of view, thinking that the teacher who was willing to go the extra mile to learn the best practices in the arts was the teacher who would have the most successful programs. What I did not consider until later in my career was how important leadership is to a program’s success. As teachers we are leaders, and we have to choose what kind of leadership we will display. What kind of leader do your students need? I attended an in-service several years ago that focused on “filling the buckets of our students,” where the main point was that we must give our students a series of positive interactions to create an environment where they are willing to take risks and have ownership of their learning. I left this training realizing that I didn’t always create the positive classroom environment that would lead my students to real risk-taking. I set out, determined to improve my daily interactions in the classroom. That day, I decided to create an atmosphere in my classroom where the students felt empowered to succeed and where the thought of failure was impossible. While I did not realize it at the time, this was the first major change to my leadership style that would continue to evolve over the next several years. I left that in-service presentation with the notion that educators should look only for the positive and never mention the negative in any situation. As I tried
Students wanted our rehearsals to be a safe place to fail and that learning from that failure was an important step in the process to becoming excellent. Southwestern Musician | November 2019 31
this technique in my rehearsals, my students became more frustrated than ever, and several leaders had private conversations with me about the lack of progress the orchestra was making and how they craved constructive criticism. I quickly realized that false praise was just as ineffective as constant negativity. Instead of the consistent praise filling the studentsâ&#x20AC;&#x2122; buckets with confidence, it actually poked holes in it, allowing their confidence to drain. After a quick self-reflection and some very productive conversations with my
student leadership, I realized that students desired my sincerity and honesty. They wanted to know that when I said, â&#x20AC;&#x153;that was amazing,â&#x20AC;? I truly meant it. They also told me not to be afraid to challenge the ensemble in rehearsal and demand excellence from each member. It was in this short period of time that I realized students wanted our rehearsals to be a safe place to fail and that learning from that failure was an important step in the process to becoming excellent. From that point on, I decided I would never be insincere with my students or
32 Southwestern Musician | November 2019
afraid to tell them the truth (positive or negative) regarding their performance. After I put this decision into action, I noticed that students were excited about rehearsals and would smile in performance when we played a passage perfectly that we had failed on so many times in rehearsal. I quickly realized that adversity and the overcoming of it through teaching and learning filled everyoneâ&#x20AC;&#x2122;s bucket (including my own) and left us excited and eager to start the learning process again each time we began a new piece of literature. As you finish the first semester and take a much needed and deserved break, take time to reflect on your leadership style. Question your rehearsal practices and ensure you are filling your studentsâ&#x20AC;&#x2122; buckets with sincerity and honesty. Be the leader they need you to be, and donâ&#x20AC;&#x2122;t hesitate to turn failure into learning and learning into excellence. Your students will leave your classroom with skills that will serve them well throughout their lives, and you will have your bucket filled knowing you made an impact on the life of every child who walked through your door. TMEA Clinic/Convention Update I hope you have already registered for our TMEA Clinic/Convention thatâ&#x20AC;&#x2122;s only three months away! We will be celebrating our associationâ&#x20AC;&#x2122;s centennial, so this is one you wonâ&#x20AC;&#x2122;t want to miss! Itâ&#x20AC;&#x2122;s not too late to registerâ&#x20AC;&#x201D;go to my.tmea.org/register today! Weâ&#x20AC;&#x2122;ll be looking at TMEAâ&#x20AC;&#x2122;s past and future as well as enjoying many great Honor Orchestra performances, All-State concerts, and the inspiring clinics that make our convention great year after year. HS Full Honor Orchestra Seven Lakes HS Symphony Orchestra, Katy ISD The Seven Lakes Symphony Orchestra consists of members from the top two string orchestras and top band at Seven Lakes HS. Since its inception, the ensemble has earned numerous accolades. Most recently, the Foundation of Music Education named the Symphony Orchestra a National Winner in the Mark of Excellence for the National Honors Project (2015 through 2019). The ensemble was also named the High School Division winner for the American Prize in 2017. The ensemble has placed numerous times in the final round of the TMEA Honor Orchestra
Seven Lakes HS Symphony Orchestra
Curtis MS Symphony Orchestra
Canyon Vista MS Honors Orchestra Southwestern Musician | November 2019 33
Competition, being named HS Full Honor Orchestra title in 2016 and 2020. The ensemble has performed at the prestigious Circle of Honor Festival and at Symphony Center in Chicago in 2008 and 2016. They have also been part of Disney’s Performing Arts OnStage as a featured ensemble. The school’s Musical Pit Orchestra, made up of select students from the symphony, earned “Best Orchestra” nominations from the Tommy Tune Awards for many all-school musicals, winning the award in 2009 and 2019.
MS Full Honor Orchestra Curtis MS Symphony Orchestra, Allen ISD Located in Allen, Curtis MS has an enrollment of over 1,200 students in grades 7–8. Performing Arts in Allen ISD begin at the elementary level, where sixth graders have class two days a week. At Curtis, students audition for placement in four string orchestras or bands. The orchestra is led by Amanda Su and Amy Gearhart, and the band is led by Linda Orrantia, Daniel Lane, and Mallarie Bowen.
AUDITIONS NOVEMBER 16, 2019 VOICE & ALL INSTRUMENTS
(WITH THE EXCEPTION OF GUITAR, PERCUSSION, & PIANO)
FEBRUARY 1, 2020 VOICE & ALL INSTRUMENTS
(WITH THE EXCEPTION OF GUITAR & PERCUSSION)
FEBRUARY 8, 2020 VOICE & ALL INSTRUMENTS
(WITH THE EXCEPTION OF GUITAR & PIANO)
MARCH 21, 2020 VOICE & ALL INSTRUMENTS APRIL 13, 2020 VOICE ONLY
(NOT FOR SCHOLARSHIP CONSIDERATION)
2020 SCHOOL OF MUSIC
SAM HOUSTON STATE UNIVERSITY
1751 Avenue I, Suite 225 Huntsville, TX 77340 936-294-1360
WWW.SHSU.EDU/ACADEMICS/MUSIC MEMBER THE TEXAS STATE UNIVERSITY SYSTEM
34 Southwestern Musician | November 2019
The Curtis MS Symphony Orchestra formed in 2014 and has enjoyed great success. After UIL Orchestra Concert and Sightreading season, students meet after school to form the full orchestra program for a spring festival and concert. All Curtis MS Orchestras consistently receive UIL Sweepstakes awards and the Curtis Chamber Orchestra and the Curtis Symphony have placed in the TMEA String and Full Honor Orchestra finals. Additionally, the Foundation for Music Education has named both the Curtis Chamber Orchestra and the Curtis Symphony as National Winners of the Mark of Excellence Project. The Curtis Symphony thanks administrators, staff, parents, and community for their support. This accomplishment would not be possible without the support of our wonderful community. MS String Honor Orchestra Canyon Vista MS Honors Orchestra, Round Rock ISD With an enrollment of 1,440 students in grades 6–8, Canyon Vista MS is located in northwest Austin in Round Rock ISD. Known for its outstanding academic reputation, Canyon Vista is an ethnically diverse school, with over 20 languages spoken by students and their families. Strong parental support, excellent private teachers, and student dedication and enthusiasm contribute to the success of the orchestra program. Canyon Vista feeds Westwood HS. The orchestra program at Canyon Vista currently has 190 members placed in two beginner-level classes and four auditioned orchestras, including an advanced sixth grade orchestra for students with prior playing experience. Throughout the school’s 35-year history each orchestra has consistently earned Sweepstakes awards at UIL Concert and Sightreading Evaluation. The Honors Orchestra and the Symphony Orchestra are regular finalists in the TMEA Honor Orchestra Competition, and the Canyon Vista Honors Orchestra has been selected four times as TMEA Honor String Orchestra (2000, 2010, 2013, and 2020), and once as the TMEA Honor Full Orchestra (2011). Additionally, the Canyon Vista Honors Orchestra has twice been named as a National Winner for the Foundation for Music Education’s Mark of Excellence Award (2018, 2019).
1920
Celebrating
by Karen Cross
A
s we examine two more decades in TMEA’s history, it becomes more meaningful when we do so through the lens of our nation’s history—this was the era of the Vietnam War, civil rights protests, the assassinations of JFK and MLK, the Cuban Missile Crisis, the Moon landing, women’s and gay rights, the Watergate scandal and resignation of President Nixon, the energy crisis, and much more. Perhaps our association’s own struggle between state independence and national unification was influenced by the tenor of the time.
TMEA in the 1960s The 1960s were a time of change in music education, in our staff, constitution, and convention. It was also in this decade that TMEA became serious about our need to impact the public’s perception of public school music education . Some issues from our past continued into the ’60s. School administrator concerns of the ’40s that led to UIL running music contests resurfaced in 1960 when certain administrators attempted to curtail or even eliminate student performers from our convention. Magazine editor D.O. Wiley wrote in response: The inspiration that is generated at our clinics seems to us to have almost miraculous results over a long period of years. Some 25 years ago, when we attempted our first statewide clinic, our music program, as a whole, was very ordinary, if not rather shoddy. With the coming of the clinics, literally hundreds of youngsters began to blossom. It would be hard for us to believe that the clinics, and the competition-festivals that were sponsored by our association for lo these many years, did not contribute to the inspiration of, and largely develop, our fine school music programs. Despite the objections, our tradition continued, as TMEA was able to convince administrators of the value and remind them that three years before, we had decreased student participation from 2,000 to only 750. (Today we welcome over 4,000 students to perform at our convention.) 36 Southwestern Musician | November 2019
In the early 1960s, D.O. Wiley stepped down as our Executive Secretary following 20 years of service, and in 1963, the Executive Board hired Joe Lenzo. He was Texas Choral Directors Association Executive Director at the time and agreed to take on the role for an annual salary of $8,000. Lenzo would be the fourth of only six executives to serve TMEA in its 100 years, and unlike all others in that job to date, Lenzo had not served as a TMEA President. Throughout the ’60s TMEA members were called on to develop curriculum guides for teaching music in public schools. These would be adopted and distributed by TEA. TMEA leaders looked to this project to strengthen the cause for inclusion of music education credits in more college entrance plans and to give unmusical administrators guidance in setting up and evaluating their school music programs. The method by which the study was conducted was thought to be quite innovative, given it departed from the routine of committee meetings. These guides that were released in mid ’60s demonstrated the importance of continuous music education from kindergarten through twelfth grade. The early ’60s also saw the membership’s adoption of a completely revised constitution. This 1963 revision brought with it the end of a 15-year constitutional limitation of membership to whites only (for more detail on this event in our history, read the installment of this series in the October issue). Music’s Role in Healing a Nation Those who are old enough to remember November 22, 1963, can tell you exactly where they were when they learned President Kennedy had been assassinated. Even those of us without a direct recollection have some sense of the profound sorrow that followed this event. And in the midst of our grief, we turned to music. Two days following the assassination of his friend, Leonard Bernstein led the New York Philharmonic in a performance of Mahler’s Second Symphony—The Resurrection—in tribute to the memory of the president. Bernstein then delivered these words we have turned to in the face of subsequent national tragedies: We musicians, like everyone else, are numb with sorrow at this murder, and with rage at the senselessness of the crime.
2020
TMEA’s Centennial But this sorrow and rage will not inflame us to seek retribution; rather they will inflame our art. Our music will never again be quite the same. This will be our reply to violence: to make music more intensely, more beautifully, more devotedly than ever before. And with each note we will honor the spirit of John Kennedy, commemorate his courage, and reaffirm his faith in the Triumph of the Mind. In his January 1964 column, Joe Lenzo responded to this national tragedy and to Kennedy’s influence by challenging Texas music educators: During our former President’s shortened term of office, our country suffered a rebirth of the spirit of national pride which has been characteristic of the growth of our democratic independence. Throughout the world our national image has regained a great deal of its lost prestige. This came about because of the emphasis placed on the belief in the capabilities and future of our young people. This was not left to blind faith, rather an active leadership in the promotion and improvement of the total educational program. I believe that future historians will find this emphasis one of, if not the most significant action, during the recent administration. This total educational program is well under way. Continual nourishment of it is a challenge to all American educators. How does it affect us as music educators? Giving every child a musical background is not a new thesis. Nowhere in the world is music considered a frill or extracurricular except where we, as music educators, have failed to do our job. Teaching all pupils some music understanding is no more difficult than teaching all pupils math, science, or any other academic study, but it does call for more than just a good organizational director—it calls for good overall music teacher. Developing a good overall music program in any school or school system is not an overnight job. It takes time and preparation, but is it not what we are being paid to do?
November 1967 Southwestern Musician Combined with the Texas Music Educator
Promoting Music Education In the early ’60s, TMEA worked to elevate exposure of music programs and music in general. The State Fair of Texas offered a perfect venue to go big! For several years, TMEA sponsored the Texas Music Festival featuring bands, orchestras, and choruses. In 1961, over 25,000 attended the grand finale that featured thousands of musicians and was broadcast on multiple TV stations. To expand interest and coverage, TMEA presented awards to wellknown individuals in the music industry. Across the years, recipients included Richard Rogers, Henry Mancini, Herb Alpert, and Meredith Wilson, composer of The Music Man. As state policy makers were proposing changes that would impact our teachers and students, TMEA increased its advocacy for music education. While TMEA looked to members to take up the cause, officers decided to use a surplus of cash to fund a structured public relations campaign. Their aim was to increase the public’s understanding and appreciation of school music education. Southwestern Musician | November 2019 37
Celebrating TMEA’s Centennial TMEA’s PR Committee wanted to educate the general public on the need for school music, reeducate school administrators and school boards on the value of music, and disseminate information on the value and function of TMEA. The committee chair wrote, “The ultimate responsibility for any opinions formed concerning music education is inevitably that of the individual music educator. His daily relationships and performance will ultimately determine the opinion his community has formed of music education as a whole, not just of him.”
May 1967 Southwestern Musician Combined with the Texas Music Educator
TMEA promoted Texas Music Education Week to increase public awareness and support for music education. This week, declared by Governor John Connally, became the launching point of a multiyear public relations program that required the donation of tens of thousands of dollars in advertising time and space. The extensive PR program included education about the different functions of UIL and TMEA and magazine articles and clinics on public relations. Newspapers, radio and television stations, and outdoor advertising carried our message. In 1968, Texas Music Education Week featured billboards, radio and TV spots with messages from German-American pianist, composer, arranger, and conductor André Previn. That year, the PR firm offered clinics at our convention to help attendees learn how to do more work locally to support this campaign. This yet-unmatched PR campaign came to a close when the Executive Board reported that the surplus funding had been depleted. As opposed to the 1966 Board, this group of leaders faced a deficit in funds to support the now expanded offerings for members at the convention and beyond. While they discussed increasing membership dues to $10 (unchanged since 1957), they ultimately decided to increase convention fees from $5 to $7.50, hoping that would be enough. 38 Southwestern Musician | November 2019
TMEA at 50 Years TMEA celebrated its Golden Anniversary in 1974. Given our current centennial commemoration, that year might seem puzzling. Understand though that TMEA leaders had declared the 1924 formation of Texas Band Teachers Association as the beginning of our association. After the dust settled on our 50th observance, they revised that designation to be the 1920 formation of Texas Bandmasters Association (since that association was the predecessor association of TBTA). In February 1974, TMEA Past-President and UIL State Director of Music Nelson Patrick wrote a reflection on TMEA’s 50 years: The 1974 TMEA anniversary convention stands out as a symbol closing a frontier era in Texas music education. At the same time, it is symbolic of a pioneering spirit in continuum as we chart our way through the maze of economic, educational, and social changes of today. Just as music in the schools came about following changes in our social institutions after World War I, we are faced with similar problems today. The Vietnam War, social transitions of the sixties, and now economic adjustments resulting from the energy crisis have catapulted us into a new era. What happens to music education depends upon how well we resolve these problems as they arise. He went on to highlight the continued struggle for an allinclusive music education: What about those who are not receiving music? What do we do to encourage more participation in orchestra and string instruction? Through various devices, most states are bringing music to a much higher percent of their school children than we. What are our plans to resolve these problems? Our lifestyles are being changed daily by social readjustments, new values, and economic fluctuations. This might well be the time for us to put music education on a broader music foundation instead of being adjunct to some other activity, as is so often the case. Whatever the next fifty years might hold for us, there is no doubt that we can and will solve whatever problems arise with the same pioneering spirit that prevailed in 1924. Our 50th anniversary then can symbolize the opening of a new frontier and the acceptance of new challenges without self-imposed limitations.
Set your goals high—set your standards high—your quest should be excellence in music education. Nothing less will be worthy of the Texas Music Educators Association. —from Bill Cormack’s final column as TMEA President, in which he pointed out that he was the first president of TMEA’s next 50 years.
M
Independence or National Unity ?
ost state music educators associations were founded as affiliates of the national association—Music Educators National Conference (renamed to National Association for Music Educators). But, like proud and independent Texans, our founders established our association on their own. Almost 20 years after the start of our association, TMEA leaders decided on a cooperative affiliation with MENC; however, our constitution wasn’t amended to legitimize that relationship. In 1947, TMEA members voted to join actively with MENC. While still not in our constitution, this vote resulted in three options for TMEA members paying their dues. They could also pay full MENC dues ($7) or partial MENC dues ($5), or they could choose Option III, TMEA membership only ($4). In 1948, MENC accepted TMEA as an affiliate “subject to completion of technical requirements.” They expected TMEA to amend its constitution to require members to also be active members in MENC (the standard for other state affiliates). Throughout the ’40s and ’50s, MENC employed more of a soft-sell approach, encouraging TMEA to amend its constitution in compliance with MENC policy. While some TMEA members always believed we should have a national affiliation, during this time, a general anti-MENC sentiment was growing in Texas.
They don’t rubber-stamp in Texas. }ÐŘĊĮ īÐ ťÐīÆÐăř ðĊÌÐĨÐĊÌÐĊĴ ĊÌ have a voice. The grassroots people run our association. In 1966, MENC granted TMEA a three-year extension during which leaders were to convince our members of the mutual benefit of unification. But after Ohio’s MEA asked MENC for the same deal that Texas was getting—MENC’s approach became much more hard-lined. Their leaders sternly warned TMEA that our constitution violated our affiliated status. Our leaders continued to defy those warnings by not bringing a constitutional change to the membership. After years of heated communications, the TMEA Board finally agreed to have its members vote on unification with MENC at the 1973 general membership meeting. The constitutional change was communicated in advance, and TMEA leaders avoided making specific recommendations to the members, other than encouraging them to be informed so they could make their own decision. TMEA invited MENC leaders to be present at this meeting for the vote. TMEA President J.R. McEntyre recalled: We invited all the MENC National Executive Board people to come speak at the TMEA convention general session. They
did talk, and talked at the division meetings also, trying to persuade everyone to unify. This was also the time when we voted, and the place was packed! It was also packed because there was also going to be a vote regarding the TMEA 50th anniversary celebration extravaganza. This event had been planned, brainstormed, and promoted to gigantic proportions, to the extent that many members had serious reservations about the whole idea. So, here were the two big agenda items to be voted upon. First the membership voted soundly against the anniversary plans. Understand now, that the MENC people were all seated up on the platform, watching the membership ‘zap’ the TMEA executive committee . . . I mean ‘destroy us’! Then the next thing to vote on was MENC unification. The motion was drastically voted down. So, the MENC people saw, firsthand, that ‘they don’t rubber-stamp in Texas.’ Texans are fiercely independent and have a voice. The grassroots people run our association. It was not long before MENC finally shut us off. Soon after that 1973 convention, MENC leadership voted to suspend TMEA’s affiliation as of June 1974, with a complete revocation scheduled for June 1975 (again, unless TMEA could satisfy the constitutional requirements of full unification of dues). Some in TMEA continued to appeal to the membership to unify, believing that we needed a national voice and should have influence over national policy. Yet, many remained skeptical and didn’t believe MENC and TMEA’s philosophies aligned (there was a general belief that MENC focused mostly on college-level issues and TMEA was about the daily work of music educators in the field). In 1974, the issue was brought before TMEA’s general membership for a second vote. The results were 517 votes against unification and 265 votes for it. In 1974, MENC President Charles Benner reflected on TMEA’s reluctance to fully unify: I think that TMEA had experienced a great amount of growth in instrumental music, really ever since World War II, due to the leadership, aggressiveness, and imagination of their teachers. Texas responded to what has been regarded as a ‘Texas manner’—it was big! It was big, big, big! So I think it was a time when TMEA grew to the extent that it felt it was probably ‘bigger’ than MENC. If MENC wanted to join TMEA, then maybe it should, but Texas was too big, its conventions were too big, and there was too much money down there for TMEA to feel the need to affiliate with a national organization. After it was clear that unification was not in TMEA’s future, work began to set up TMEC, a separate Texas affiliate of MENC. And while the road to setting up this new organization was bumpy, TMEA leaders worked diligently with MENC to ensure the formation of this affiliate. Ultimately, a constitution was adopted and approved in 1975. Southwestern Musician | November 2019 39
April 1976 Southwestern Musician Combined with the Texas Music Educator
TMEA Members Elect Their First Female President It was 1975—the second wave of the feminist movement was gaining ground—and TMEA members elected their first female President-Elect, Barbara Eads. While she had previously served as TMEA State Orchestra Chair, Eads’s teaching experience included K–12, band, choir, orchestra, drum and bugle corps, and college courses, as well as fine arts administration. Following the 1976 convention, where she served as President, she reflected: There were only two major items which might color our memories of a successful meeting—one, the heat and lack of air conditioning in the convention center, and two the housing situation. Although we rejoice in the steady growth of membership and attendance at the convention, TMEA must also suffer some of the consequences that go along with growing pains. Eads would be the first of nine female presidents in our 100-year history. In October 1978, TMEA suffered the sudden death of Executive Secretary Joe Lenzo. The Executive Board had to fill in through the 1979 convention, and Dennis Bros. Printers, the 64-year publisher of our association magazine, worked beyond their scope to ensure we continued mailing a magazine in the absence of its editor. With the position now vacant, the Executive Board began evaluating the location of our TMEA office and the hir40 Southwestern Musician | November 2019
ing of a new Executive Secretary. Seven months after Lenzo’s death, in May 1979, they hired TMEA Past-President Bill Cormack to fill the role. In June, the Board moved the office to Austin to be more accessible to the membership and to have better communications with UIL, TEA, and state governmental agencies. Immediately after being hired, Cormack led a fight against legislation that threatened the very existence of fine arts in the state curriculum. In his first column as magazine editor, he reported how, with grassroots support, House Bill 921 didn’t pass (for more details on TMEA’s work in influencing state policy, read the Executive Director’s Notes on page 8). Looking to the Future With a half-century in our past, TMEA leaders decided to explore the direction of music education in Texas to help bring the future into focus. Through a formal symposium, TMEA would take a philosophical look at itself and develop a plan of action to move forward with confidence, security, and unity, ensuring continued growth for the association and improved music education for the people of Texas. After about two years of investigation and planning, each division was charged with selecting symposium representatives during their February 1977 business meetings. In her magazine column, President Barbara Eads appealed to members to be deliberate in selecting their representative:
We all know very popular, well respected directors who have been most successful on the podium, but can they be successful in their contributions to the Symposium? In other words, can they think past their batons? We will need people who may or may not be consistent sweepstakes winners, but who are also knowledgeable, able to express themselves, open-minded and willing to look for new answers for the future. After this three-day event, President James A. Moore wrote in reflection, “I personally feel that the TMEA Symposium will prove to be one of the most significant activities in the recent history of the association, not only for what we were able to do in the three days, but for the hope of what can be achieved in the future.” The following year, President John Bridges asked Barbara Eads to head up a committee to form a new study—smaller in scope, and more practical in nature. This committee proposed another symposium for the summer of 1978 on the topic “Communicating with Key Publics: Public Opinion and Policy Making.” This public relations workshop was ultimately held June 14–16, 1979, at Southern Methodist University. Their charge was to develop a handbook detailing the steps necessary for developing a successful professional relationship with school administrators and the general public. Since that first symposium in 1977, TMEA has continued to host similar events to gain input from a representative sample of the membership so that we can continue to improve TMEA’s offerings and improve music education for all students. TMEA’s Growth Continues As our reflections of these two decades comes to a close, we find it in stark contrast to the 1960 beginning when we were being asked to limit student participation at our convention. Instead, in 1979, TMEA was expanding its All-State organizations, with the addition of a Jazz Ensemble. This brought us to six All-State ensembles— growth that has continued, now with 15 groups and the addition of an All-State Mariachi slated for 2021. Next month is our convention program preview issue. Look to future issues in ǡǟǡǟ åďī ìðæìăðæìĴĮ ďå ĴìÐ īÐĉðĊðĊæ ǣǟ years of our history.
Share your
STORY #TMEA100 #itstartswithmusic
What’s Your Music Story? Be part of TMEA’s Centennial by sharing your story and letting the world know why music education is important for everyone! 1.
Have a friend record a video of you sharing your brief reply to one of these questions or something similar: Why is music your favorite class? How has ĉķĮðÆ ÐÌķÆĴðďĊ ååÐÆĴÐÌ řďķī ăðåÐȟ >ďœ ìĮ ÅÐðĊæ ðĊ ĉķĮðÆ Ĩīďæīĉ ðĊŦķenced other areas of your life? How has a music teacher changed your life?
2.
Share your video on social media and include these tags: #TMEA100 and #itstartswithmusic
3.
Challenge your friends to make and share their videos!
Southwestern Musician | November 2019 41
VOCAL NOTES
B Y
J E D
R A G S D A L E
What’s your story?
T
MEA recently began a campaign to get musicians of any age to share their music story—specifically why they believe music education is important and how they’ve been influenced by their music teachers. While the deadline to upload a video is November 1, this campaign doesn’t end there. Everyone is encouraged to continue sharing their story on social media and to include #TMEA100 and #itstartswithmusic in the post. We want these personal messages about the importance of music education to go viral! Learn more at www.tmea.org/mymusicstory. Thinking about this campaign and our response to it might lead you to reflect on why you chose this profession and who influenced you toward it. For some of us, it was a long time ago in a county far, far away where the forces of music pulled us to the bright side. Something or someone said “Hey, you need to do this. You’ve got talent and you need to share it with the world! We could really use someone like you on the team!” Whether it was a talent for singing or perhaps leadership, someone was there to nurture that spirit inside you. If you’re reading this column, you are an educator or a performer associated with this great association, and you didn’t get here by accident. Everyone has a story. What’s yours? Have you ever used your story to reach others? In September, our Chorale (the varsity mixed choir) was invited to perform on a concert at nearby Sam Houston State University. It was roughly five weeks after the start of school. We all know how chaotic that time of year can be— then you throw in events like a patriotic show, district auditions, a demonstration concert, musical rehearsals, homecoming week and game, and some other business like TMEA Executive Board responsibilities. You can quickly find
Students want something real and relatable in what can be a very cynical world. 42 Southwestern Musician | November 2019
November—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 11—Area Vocal and Band auditions. January 23—TMEA convention online early registration deadline. February 12–15—TMEA Clinic/ Convention in San Antonio.
yourself feeling the tight squeeze of your schedule growing ever tighter. Then the realization sets in: we have a real concert in front of a real audience of high school and college choirs, their directors, families, and other community members in 10 days. We need to get this together. I need to get it together. Can I keep myself together? I know you’ve all been in similar positions—the ones that cause us to wake up at 2:30 a.m. in a cold sweat wondering how we’re going to manage it all. We start cramming the music, realizing the choice of repertoire is too hard for the fifth week of school. (Disclaimer: I realize this isn’t the best way to teach.) Do we cut a piece even though we have only two in progress? The sophomore guys are hanging on for dear life as I tell them, once again, they’re looking at the wrong page. There are two pianos in the rehearsal hall, each with a director playing pitches. Somewhere, there is some teaching taking place: chord analysis (“Does that sound like a major chord?”), elements of musicality (“Back off, basses!”), vowel unification (“I’d like to buy an ‘Ah’ vowel, please!”). Our mantra this year is “Heck Yeah, We Can!” When I asked them if we can get it all done in time, the response was more like “heculisizzlecoumpf.” This is not a proud moment for me, and we don’t have time to really dig into the music or the interpretation of text. I just keep thinking: Don’t give up. Believe to achieve! After our run-through on stage, working some of the fine details, we’re inside the holding room and I begin to discuss the stages of life. Daniel Gawthrop’s “Sing me to Heaven” is a mature piece, vocally and in content. I ask the choir how I could possibly expect students of such a young age to comprehend the various stages of
life when they are somewhere between the first two? “What stage are we in when we are sung a lullaby, in the comfort of a parent’s arms? What stage do we really know what love is, possibly in someone else’s arms? Where are we, when someone is singing us a requiem, as we reach for a set of heavenly arms? How could it be possible for you to relate to any of it?” Discussion ensues, and I tell them the story of my father trying to teach me some life lessons when I was younger than they—lessons I had yet to understand and neglected because I had no frame of reference. I told the students that in my current stage of life, I now understand some of the things my father was trying to teach me. I stated that I wish I could ask him questions, but he’s no longer here. He passed away while I was in college. I continue about the journey of life and I use my story. There were a few tears. Afterward we stood up and the officers shared some words as they usually do prior to a formal concert. We went on stage. The students stood a little taller with heads a little higher. Although it was not UIL in September, we had focal point for the year.
It was a musical performance we all could be proud of. I was even prouder that they gave it their all, emotionally and musically, and they never gave up. They accepted a mission and rose to the challenge, even those sophomore boys. It’s okay to use portions of your story throughout your career. Our students want something real and relatable in what can be a very cynical world. The students see us in varying arrays of light, but sometimes the light of vulnerability can be most effective. They, who come into our room seemingly troubled, acting out or worn down, have their own stories. Every student does. They think no one understands, until you share a portion of yours. Then, your story becomes a part of theirs. Hopefully, they will share their own with others someday and it just might include you. Please share yours. 2020 Clinic/Convention Update As we near our annual convention, and especially this most exciting one where we will celebrate our association’s centennial, I’m excited to present information about several of our Vocal Division
Southwestern Musician | November 2019 43
PERFORMANCE PASSION PRIDE
2020 ADMISSION & SCHOLARSHIP AUDITION DATES: FEBRUARY 22 MARCH 14 MARCH 21
(INSTRUMENTAL ONLY)
APRIL 4
(VOCAL ONLY)
Auditions are required of all entering and transferring music majors. Additional dates upon request.
DEPARTMENT OF MUSIC BACHELOR’S AND MASTER’S DEGREES IN MUSIC EMPHASIZING MUSIC EDUCATION OR PERFORMANCE
tamuc.edu/music | 903-886-5303
@TAMUCMusic
| @TAMUCBands @TAMUCChoirs
Invited Choirs. The remaining choirs will be featured in our January issue. Be sure to put their concerts in your convention schedule! Lorenzo de Zavala MS Tenor/Bass Choir, Amarillo ISD Lorenzo de Zavala MS Tenor/Bass Choir is under the direction of Bryan Hackett. During his six-year tenure, the Tenor/Bass Choir has grown from 8 eighth-grade boys to a program of about 35 seventh- and eighth-grade young men. The Tenor/Bass Choir is non-auditioned and invites all young men who want to participate. The choir has received Sweepstakes awards at UIL Concert/Sightreading Evaluation the past four years and has competed as a varsity ensemble for the last three. Members of the choir are active in the TMEA Region 1 All-Region process and UIL Solo/Ensemble Contest. The students also participate in football, basketball, track, UIL academics, scouts, student council, and other student organizations. Lorenzo de Zavala is a 1C middle school in the Amarillo ISD and feeds into Tascosa HS. Smithfield MS Varsity Treble Choir, Birdville ISD The Smithfield choir program serves approximately 350 students involved in seven performing ensembles. The Varsity Treble Choir is the premier treble choir, consisting of 59 auditioned seventh- and eighth-grade girls chosen for their musical abilities, academics, citizenship, and leadership. The singers commit to daily rehearsals, before and after school, and they are also members of the SMS Chorale. The choir performs annually at various school concerts, community events, and choral competitions. They are actively involved in many aspects of student life on campus, including private voice lessons, band, theater, art, pre-AP classes, athletics, NJHS, and other student clubs. Smithfield choirs consistently earn UIL Sweepstakes awards and have been awarded best-in-class and grand champion honors at the Hurricane Harbor Choral Festival. They maintain success at placing members in the Region 31 honor choirs and receive superior ratings at UIL Solo and Ensemble contest. The 2020 TMEA convention marks the fourth time a Smithfield choir has been invited to perform. The Smithfield Varsity Treble Choir is led by Head Director Jennie
Lorenzo de Zavala MS Tenor/Bass Choir
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Crawford and Associate Director Taylor White.
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Pace ECHS Varsity Women’s Choir, Brownsville ISD The Pace ECHS Varsity Women’s Choir is made up of the young women from the Pace ECHS Chorale, an auditioned ensemble of singers from grades 9–12. These students are highly active on campus, participating in many other clubs and organizations including NHS, band, color guard, FCCLA, dance, and theatre. Members of the Varsity Women are also ranked at the top of their respective classes, many of them going on to graduate ranked as one of the top 10 students in their class. The Varsity Women consistently receive UIL Sweepstakes awards and top honors at festivals around the United States. In 2017 the Varsity Women competed at the WorldStrides Heritage Festival in Washington D.C., where they swept top honors and were invited to perform at the Festival of Gold. In 2019 the Varsity Women accepted the invitation to the Festival of Gold in Los Angeles. After an initial adjudicated round of performances, the Varsity Women were selected to open the final showcase concert as the top choir at the festival. The Women’s Choir is under the direction of William Armour.
San Marcos HS Varsity Men’s Choir, San Marcos ISD Nestled between Austin and San Antonio, San Marcos gets its namesake from the crystal-clear river that flows through it. We often say there must be something in the water because San Marcos seems to breed great singers. San Marcos CISD, a one-high school district, has a rich history of music-making. The men of the San Marcos HS Varsity Men’s
Choir are honored to be selected as the first TMEA Invited Choir in the history of SMCISD. The ensemble consists of students from grades 9–12, many of whom sang with the newly established Junior Varsity Men’s Choir last school year. San Marcos HS is a Title 1 school with 80% minority enrollment and 75% economically disadvantaged. Many of these young men juggle multiple responsibilities at home and at school with a tenacity and grace that is beyond their years. Nonetheless, they are outstanding athletes, school leaders, and scholars. We are proud of the fact that music is a priority in each of their lives regardless of their future career paths. From future music educators to medical professionals to construction workers, we are all sons singing! The Varsity Men’s Choir is under the direction of Dawn Sheridan-Reinhuber. Canyon HS Chamber Choir, Canyon ISD The Canyon HS Chamber Choir is composed of 70 singers and is one of the six performing ensembles at CHS. Canyon choirs perform numerous times a year in the community of Canyon. They have also toured nationally and internationally in Italy, Germany, and Austria. All choral ensembles of Canyon HS share a rich tradition of excellence, consistently earning UIL Sweepstakes awards and best-in-class in numerous choral festivals. Canyon HS is proud to have had TMEA Invited Choirs in 2007 and 2012, and we are excited to sing again in February as we celebrate TMEA’s 100th! The Chamber Choir is under the direction of Brandon Farren. Texas Woman’s University Concert Choir The Concert Choir at Texas Woman’s University (TWU) in Denton, is a
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50-voice, select treble choir consisting of undergraduate and graduate students majoring in a variety of disciplines. It is TWU’s premier choral ensemble. TWU is a coeducational, state institution primarily for women. In support of the university’s initiative to feature women in the arts, music by female composers is frequently featured on the Concert Choir’s programs, as well as a wide span of literature from masterworks to modern innovations. Since the founding of the TWU choral program in 1905, the choir has performed an extensive repertoire, and has most recently presented at the American Choral Directors Association National Conference (2019), the National Collegiate Choral Organization Conference (2017), and the Southwestern American Choral Directors Association Conference (2012). TWU Concert Choir is under the direction of Joni Jensen.
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Attend the TMEA 2020 Clinic/Convention Febr uar y 12–15 • S an Antonio
CELEBRATING TMEA’S CENTENNIAL! 48 Southwestern Musician | November 2019
B Y
A B I G A I L
H A W E S
ELEMENTARY NOTES
Get connected
A
November—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 23—TMEA convention online early registration deadline. February 12–15—TMEA Clinic/ Convention in San Antonio.
while back, our campus secretary and I started a little tradition. I’d walk past her office at some point in the day, lean in, and wave. She’d wave back and ask, “You still work here?” to which I’d smile and reply, “Yup, sure do!” and off I’d go. Like many of you, I sometimes fall into a predictable pattern: arrive at school, teach the day, then quickly move onto the next activity, whatever it might be. The next day? Rinse and repeat. And, being the sole music teacher on my campus, I find this pattern can quickly become quite isolating. True, we are surrounded (and I mean, surrounded!) by students from the early morning until the time we leave, but that’s not the same as having a colleague to bounce an idea off of, chuckle with when something funny happens, or lend a listening ear when needed. Maybe you’re fortunate enough to have a trusted colleague, administrator, or staff member on your campus who helps you in these ways. In my case, I certainly know my school secretary is always there to listen, no matter what, and that I can count on my fellow large group teachers for support. However, when it comes to matters of elementary music education, I often find myself needing
For those of us who serve alone on a campus, how can we connect with others and feel less isolated? Southwestern Musician | November 2019 49
to reach out specifically to others within my profession. And thatâ&#x20AC;&#x2122;s where it can get tricky for those of us who serve alone on a campus. How can we connect with others and feel less isolated? Why not begin by reaching out to nearby teachers, possibly within your own district? Propose a meetup after school, or even on a weekend. This past month, a group of about 20 music teachers in my district met one Saturday morning to play singing games. We started the morning by briefly examining the game suggestions sent in via a Google form, then dove right into the list. By 2 p.m., we had played a wide variety of singing games, appropriate for younger students, those sometimes hard-to-reach fifth graders, and everyone in between. Without a doubt, each of us left with many new ideas to take back to our classrooms. And the best part? Thanks to the help of our supportive Elementary Music Coordinator, the games were videorecorded for teachers within our district to use for reference, or even to show as a teaching tool during classes. Sometimes itâ&#x20AC;&#x2122;s not possible to meet in person, making afterschool or weekend professional development sessions difficult to schedule. Luckily, social media provides us options! Have you considered creating an online group for teachers in your area? Perhaps you should join one of the many thriving elementary music communities that exist on social media. These groups are full of teachers, many like you, who are seeking to connect with others, share their struggles (and successes!), and gain new ideas and insights into whatâ&#x20AC;&#x2122;s going on in other teachersâ&#x20AC;&#x2122; classrooms. Speaking of technology, podcasts offer yet another opportunity to get connected. Called by some â&#x20AC;&#x153;the new radio,â&#x20AC;? these audio-only programs are a fantastic way to hear the very latest in just about anythingâ&#x20AC;&#x201D;including music education. Iâ&#x20AC;&#x2122;ve recently started listening to a few podcasts and have truly enjoyed the insights and perspectives Iâ&#x20AC;&#x2122;ve gained as a result. Best of all, they can be listened to anywhereâ&#x20AC;&#x201D;on a walk, in the car, before or after school in your classroom. What follows is certainly not an allinclusive list, but rather, a few music education-themed podcasts that have recently made their way into my playlistâ&#x20AC;&#x201D;mostly during my commutes to and from work. If youâ&#x20AC;&#x2122;re looking for a place to start, why not try one of these? Then, see what piques
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TMEA Clinic/Convention Update In this monthâ&#x20AC;&#x2122;s column, Iâ&#x20AC;&#x2122;m pleased to introduce four of the ensembles you will have the opportunity to see and hear at our upcoming convention. The remainder of our divisionâ&#x20AC;&#x2122;s 2020 performing groups are slated for inclusion in the January edition of Southwestern Musician. The performing group selection committee and I sincerely hope youâ&#x20AC;&#x2122;ll make plans now to support these talented students and their dedicated directors. Forest Vista Choir, Lewisville ISD The Forest Vista Choir is an 89-member, non-auditioned choir from Flower Mound, open to all fourth and fifth graders. 59% of the schoolâ&#x20AC;&#x2122;s fifth graders and 54% of fourth graders are members of the choir. Forest Vista Elementary is known for high levels of academic performance, strong arts and physical education programs, and a focus on character education. The choir is an extension of the FVE music program, with a focus on choral rehearsal and performance skill development. The program is a tool for developing a love of singing and music-making and for preparing students for participation in music in the outstanding programs of the
Southwestern Musician | November 2019 51
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Flower Mound HS feeder system. The choir meets weekly for one hour after school on Tuesdays and has performed with elementary, middle, and high school choirs in Flower Mound, as well as at retirement homes and hospitals in the area. Emily Brackney is in her 20th year as a music specialist in Lewisville ISD, the past 16 at Forest Vista Elementary, where she teaches kindergarten through fifth-grade students and directs the Forest Vista Choir and Chimes. She holds music education degrees from Baylor University and the University of North Texas. Crestview Eagle-aires, Canyon ISD The Crestview Eagle-aires are honored to represent Canyon ISD at the 2020
52 Southwestern Musician | November 2019
TMEA Clinic/Convention. The Eagle-aires were formed in 2016 under the direction of Amanda Pullen. Now in their fourth year, the choir comprises over 40 fourth graders. The Eagle-aires are an auditioned group that rehearses before school two mornings a week. Throughout the year the Crestview Eagle-aires perform concerts on campus and within the Canyon and Amarillo communities. This is the first time the Eagle-aires have been honored to receive an invitation to sing at a TMEA convention. Director Amanda Pullen is in her fourth year as the music specialist at Crestview Elementary, where she teaches general music to kindergarten through fourth-grade students and directs the
Crestview Eagle-aires choir. She holds a bachelor of music education degree from Hardin-Simmons University. Prior to her position at Crestview, she taught elementary music in the Clear Creek ISD and preschool music in Canyon. Aldine Orff Ensemble, Aldine ISD The Aldine Orff Ensemble includes third–fifth and selected sixth-grade students representing 40 elementary schools in Aldine ISD. The goals of the Orff Ensemble are to identify students with outstanding musical abilities and to give them the opportunity to develop that ability through participation in an advanced instrumental ensemble. The Aldine Orff Ensemble performs several concerts each season, including annual participation in the Children’s Music Festival of Houston as well as the Texas Gulf Coast Orff Association Festival each May. The ensemble has earned several distinctions at the Children’s Music Festival of Houston since its creation in 2007, including Outstanding Single Piece, Outstanding Technique Award, and Most Outstanding Orff Ensemble. The group was founded in 2007 by Colleen Riddle, current coordinating director of Aldine ISD Elementary Ensembles. Nickole Burr has directed the Aldine Orff Ensemble for the past six years. She earned a bachelor of music education degree from the University of Wisconsin/ Eau Claire and is currently pursuing a master’s of music in music education from Kent State University. She is also the founder and director of the award-winning Thompson Elementary Tiger Choir and Tiger Orff Ensemble from Aldine ISD.
Assistant directors are Sarah Prather, Alexander Perez, and Kirsten Kurtz. Sonido, Northeast ISD Sonido is a high-energy percussion ensemble from Roan Forest Elementary. Sonido performs the songs you love on a variety of percussion instruments, and you wonâ&#x20AC;&#x2122;t see their performers standing still! Fourth- and fifth-grade auditioned mem-
bers create fun choreography that will keep you engaged from beginning to end. The way Sonido creates music is a treat for any audience. These kids totally jam! Sonido directors are Matthew Allen Trevino and Evan Moore. Trevino is in his 11th year teaching elementary music. This is his fifth year teaching the amazing students at Roan Forest Elementary. Since establishing Sonido in 2015 the group was
also invited to perform at the opening ceremonies of the 2017 AOSA Conference in Fort Worth. Thanks go to Trevinoâ&#x20AC;&#x2122;s former Roan Forest teaching partners Amanda Pawelek and Jennifer Kalanquin for their contributions to Sonido through the years. Evan Moore is a recent graduate from UT/San Antonio. Moore is enjoying his first year as an elementary music teacher at Roan Forest Elementary.
Crestview Eagle-aires
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BAY L OR U N I V ER SIT Y SCHOOL OF MUSIC The Baylor University School of Music provides transformational experiences that prepare students for careers in music. Our students thrive in a Christian environment characterized by a nurturing resident faculty, an unwavering pursuit of musical excellence, a global perspective, a dedication to service and a devotion to faith. They investigate the rich musical and cultural heritage of the past, develop superior musical skills and knowledge in the present, and explore and create new modes of musical expression for the future.
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Mindfulness in a minute
by Kristen Queen
T
oday’s students arrive to class with more than just a backpack or instrument. Many are carrying a much heavier load—distress, anxiety, trauma, and more. Their experiences impact their mental state, but they also impact their teachers who are working to support them in a safe learning environment. The symptoms of these stressors are wide-ranging for both student and teacher, including cognitive, emotional, physical, and behavioral impacts. A feeling of helplessness can certainly be overwhelming. So how can music educators intervene? What can we offer within the classroom or rehearsal environment that minimally impacts our schedules yet significantly impacts the wellbeing of our students and selves? One solution to consider is mindfulness. It can be simple and low-cost, and it can also offer profound benefits. WHAT IS MINDFULNESS? Media coverage of mindfulness seems to be at a steady crescendo. We nod along in agreement, or we become curious and ask our friends who go practice yoga, bullet journal, or spend time working on the latest page in their adult coloring book. Mindfulness is staying in the present moment without judgment. Mindfulness is at once simple and abstract. Just as doctors take the Hippocratic oath to do no harm, when we practice mindfulness we endeavor not to judge, but rather to accept ourselves as we are. We’re training our attention. One of the great authors about mindfulness, Jon Kabat-Zinn, describes it as “awarenessing” because of the active nature of mindfulness rather than going on autopilot, or a state of mindlessness. Some might think mindfulness sounds like the latest quick-fix gimmick for improving our mental state. But I believe once you examine the ways it can benefit you as someone in a demanding job teaching often stressed-out students, I believe you’ll find that
Practical Plans for Music Educators practicing mindfulness can offer you and your students a meaningful method for navigating this stressful world. MINDFULNESS MYTHS When you hear the word mindfulness, what do you envision? You might expect the objective is to erase thoughts from our minds. Mindfulness, however, is about allowing thoughts to occur. Some estimates suggest we have between 12,000 to 70,000 complete thoughts per day—and those are just the complete ones, not fragments or brief flickers. Therefore, much like responding to physical hunger by trying to ignore it, the energy one might use to stop thoughts from entering our minds would be wasted. Another frequent assumption is related to the appearance of mindfulness. Do you view it as quietly sitting with eyes closed for long periods of time? For good reason, we need to break those stereotypes. As previously stated, our students, selves, or both may have experienced trauma. Asking someone to close their eyes in an unfamiliar place can be especially upsetting. Consider suggesting a soft gaze or even a calm, focused stare at an object. We each have varying abilities and mobilities, so explore the posture(s) that best fit you, your students, and your location. Don’t be afraid to move. Take a mindfulness walk outside or around the elementary music classroom or as everyone prepares to rehearse the latest sets of drill in high school marching band. There’s no specific decibel or timer expectation on mindfulness either. Let go of expectations and explore what feels right for you and your students. Mindfulness can occur in as little as a minute. Some younger students may wish to hum to themselves (or make some kind of noises), while older students may wish for silence or soft background music. While there’s no expectation to be mindful all the time, to reap the rewards, it needs to become a habit or a regularly Southwestern Musician | November 2019 55
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occurring part of our day (knowing there will be those days where something derails us from that practice). Hopefully, by practicing regularly, we will feel the nudge to return to those moments of pause. Rather than judging our choice not to incorporate mindfulness and focus on what is wrong, choose to let go of judgment and know there’s often more right with us (and our students) than wrong. That’s really what mindfulness is all about. While there are countless ways we can apply mindfulness to our lives and guide our students in it, the following are just a few suggestions by age group to utilize in our classrooms. As with any method we use to help reduce stress, we must keep in mind that this is a practice, not a quick fix. MINDFULNESS FOR ALL Consider the following practices to be applicable to all ages, including you. In most mindfulness activities, it’s all about the breath, or as a mentor recently shared, “The breath is everything.” Given that, we always have the necessary tools and equipment wherever we go! Location of Breath: Stop and take one minute to bring awareness to our breathing. Where on the body do we feel our breath? Hint: it should be more than just our chest! These places on the body can be silently acknowledged or sharing can be encouraged at the end of one minute. Self-Love Breath: We frequently give ourselves the worst feedback through our mental monologues. Push pause for one minute and reflect on these four positive emotions. Inhaling joy, exhaling love, inhaling gratitude, exhaling peace. This activity can be practiced with the body still, or it can include “self-hugs,” where we open our arms on the inhale and wrap our arms around our chest on the exhale. Counting Breath: When counting breath, we don’t need to focus on the length of our breaths. Rather, breathe in and out naturally and silently and mentally saying one, then repeating and saying two on the next inhale, three, etc. When incorporating this in the classroom with elementary school students, encourage them to count on their fingers. Older students and teachers can count to ten (or higher) in just one minute. FOR ELEMENTARY MUSIC Consider these options when you introduce a mindfulness practice to your ele-
As good music educators, we know that regular practice is essential to growth and development in our students. Mindfulness is no different. mentary students: Visual Breath: Finding ways to help young students visualize deep breathing can not only help calm the classroom but also bring awareness to different types of breathing. Using our hands or a Hoberman sphere can help us visualize breath. Have students begin by touching all ten fingertips to each other. As they slowly breathe in, challenge them to slowly separate their hands to the width of their chest. Then, as they slowly exhale, draw the fingertips back toward each other like magnets. Hoberman spheres come in many vibrant colors and can be a fun tool to introduce visualizing their breath (especially the lungs), expanding outward in all directions. Expand and contract the spheres in the same manner as with the hands on the inhale and exhale. Mindfulness Bell: Ask students to listen to a soft bell or instrument or a short recording for one minute. Gradually decrease the volume and ask students to raise their hands when they can no longer hear the sound. Mindfulness Manager: Assign someone in the class the role of mindfulness manager. Once you’ve introduced the concept of mindfulness, allow this student to
choose a time in class to practice mindfulness. Beginning and ends of class time are great, but any time can be effective. Students will begin to notice when they (and their peers) most need it. FOR MIDDLE SCHOOL Consider the following mindfulness strategies with your middle schoolers. Heartbeat Awareness: Similar to the Location of Breath activity, we spend one minute breathing and becoming aware of our heartbeat. What do we notice? Is it strong or faint? Is it fast or slow? Where do we feel it? Tension and Release: Choose a part of the body to tense or squeeze for a few seconds (e.g., feet, hands, shoulders, face), and then release or shake it out while breathing out a sigh of relief. In one minute we can choose to focus on different parts of the body, but always leaving a moment to release that tension. Listening Exercise: Take one minute to guide students in listening for a variety of sounds. Bring awareness to the sounds in our bodies, inside the room, immediately outside the room, and outside the building (such as planes, helicopters, cars, wind, rain, etc.).
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FOR HIGH SCHOOL Consider these options for helping high school students practice mindfulness. Starting Point: Students in high school are moving from class to class without a break. Like many adults, they’re beginning to go through their day without pausing. Some may even be working part-time jobs to support their families. Provide one minute at the beginning of class to tune into the body, breath, etc. Help them get started—whether for class, rehearsal, their day, or their week. Firm Foundation: Take one minute to ask your students to bring their attention and awareness to the feeling of the bottoms of their feet. First, encourage them to relax and soften throughout their body. Then bring their attention to the bottoms of their feet in contact with the ground. For those unable to stand or have their feet in contact with the floor, the foundation awareness can shift to the tailbone or bottom. Mindful, Musical Listening: Choose a section of a piece of music for the class to practice mindful listening. This could be something for UIL, an upcoming concert, or anything you choose. Perhaps consider
introducing them to a composer with whom they’re unfamiliar. Ask students to listen as if they’re hearing the music for the first time (perhaps they are). What instrument do they notice first? What instruments or sounds are they unsure of? Is there more than one voice? How do the voices or instruments interact? What’s happening in the music? Is it getting softer, louder, slower, faster? What feelings come to mind when they hear this music? KEEP PRACTICING As good music educators, we know that regular practice is essential to growth and development in our students. Mindfulness is no different. We must commit to practicing mindfulness regularly to benefit from its effects. You might be surprised on a day when mindfulness is left off the agenda, that your students will prompt you to practice it next time. Plant the seed of mindfulness and protect it. Then watch how it can grow and flourish, not just within your students and you, but also out into your school and community.
Don’t Just Play.
RESOURCES De La Rosa, R. (2018). The Monkey Is the Messenger: Meditation & What Your Busy Mind Is Trying to Tell You. Boulder: Shambhala Publications. Gates, M. (2018). This Moment Is Your Life (and So is This One): A Fun And Easy Guide to Mindfulness, Meditation, and Yoga. New York: Dial Books. Gunaratana, B. (2011). Mindfulness in Plain English. Boston: Wisdom Publications. Kabat-Zinn, J. (2012). Mindfulness for Beginners: Reclaiming the Present Moment—and Your Life. Boulder: Sounds True. Rogers, H. (2016). The Mindful TwentySomething: Life Skills to Handle Stress… & Everything Else. Oakland: New Harbinger Publications. www.mindful.org www.mindfulschools.org www.susankaisergreenland.com Kristen Queen is the Interim Director of the TCU School of Music.
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58 Southwestern Musician | November 2019
2020 TMEA CLINIC/CONVENTION Early Registration • • • • •
Active music educators: $60 Retired music educators: $20 College students: $0 ($25 membership) Out-of-state attendees: $110 Technology preconference: $50 Dec. 31: Last day to email/fax/ postmark a convention registration.
After January 23 Active music educator fee increases to $80; Out-of-state to $130.
Pedagogical Clinics Research Poster Session College Division Meeting Extraordinary Concerts Networking Opportunities Huge Exhibit Hall
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REGISTER TODAY! 60 Southwestern Musician | November 2019
B Y
V I C K I
COLLEGE NOTES
B A K E R
Lessons learned walking my dog
I
recently had my annual wellness exam. Being a veteran of such exams, I could pretty much script my doctor’s words. I knew that at some point in our dialogue the E-word would be mentioned (by him, not me). Now, it’s not that I am opposed to exercise. I am well aware of its benefits to me physically, mentally, and spiritually. However, if given a choice, exercise would fall at the bottom of my list of activities in which to engage. Because my doctor (who is a fine singer and gets the musical mindset) knows me well, he proactively countered any excuses or objections I had to offer.
November—Renew your membership and register for the convention. 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 23—TMEA convention online early registration deadline. February 12–15—TMEA Clinic/ Convention in San Antonio.
Walking Annabelle So, the next morning when I saw that my prayer for rain had fallen on deaf ears, I put on my walking clothes. My husband has always taken responsibility for walking our dog Annabelle, but due to an injury to his Achilles tendon, he had been sidelined for several months. Therefore, I felt the responsibility to take our 65-pound hyperactive rescue dog of questionable heritage with me. Little did I realize that the combination of exercise and Annabelle was going to provide me so much insight into teaching.
It is our job to guide our students on journeys of discovery. We shouldn’t limit their learning experiences because of our desire to control the areas of exploration. Southwestern Musician | November 2019 61
Once my husband recovered from his initial shock that I was willingly going for a walk and taking Annabelle, he proceeded to give me pointers and advice. Having accompanied him on walks in the past, I was very aware of my duties and responsibilities. He put the collar on Annabelle (which I guess he felt was beyond my skill level), and then attached the leash and handed it to me. He got a peculiar look on his face, and then handed me a small plastic roll. When I looked at him askance, he simply said, “Poop bags.” I was ready to hand the leash back and take my journey unencumbered by a canine companion. Then Annabelle looked at me with those big eyes, wagging her tail in anticipation, and I couldn’t possibly walk out and leave her. So, with poop bags in my pocket, Annabelle and I exited the house. Our walk began through a residential area, with early morning traffic and children standing at bus stops. Being a responsible dog walker, I kept Annabelle on a tight leash. Clearly, that was not my husband’s approach, because she attempted to race ahead and sniff every square inch of grass and every lamppost, mailbox, and, yes, every fire hydrant in sight. I kept her
close to me and limited her search area. Suddenly I realized that she was choking from the tension I was placing on her collar by restraining her. I relented and released the extractable leash to give her a wider range of territory to explore. Whenever it was time to cross the street or if traffic was passing, I would pull her closer, and she obediently complied. While my husband had allowed Annabelle to freely sniff the area bordering the sidewalk, he had taught her there was a specific route to follow. When we would arrive at an intersection, Annabelle had a predetermined direction in mind. If I attempted to go counter to her learned path, she would turn around a give me a look of, “Where do you think you’re going?” So, while my husband had given Annabelle freedom, he still had instilled in her the appropriate path to take, through daily repetition. Our house is situated at the top of a hill, which is a great location when flooding occurs, but not so ideal when it’s the conclusion of a walk. As we headed home, I found that Annabelle’s tugging on the leash helped me gain momentum as I ascended the hill. It was amazing how
much power she generated, enabling me to finish the walk without having to seek more oxygen from a tank. I freely admit that I was a bit winded at journey’s end, but it gives me great satisfaction to point out that Annabelle was panting with her tongue hanging out of her mouth. Lessons for Music Teachers Lesson 1—As teachers, it is our job to guide our students on journeys of discovery. We shouldn’t limit their learning experiences because of our desire to control the areas of exploration. Rather, we should broaden their search area but pull them back on the path when they wander too far from their objective or enter territory that could be potentially harmful (trying to play or sing music that is beyond them developmentally, using poor technique, or over-practicing, all of which could potentially cause physical damage). They know that underlying their exploration is a specific path they are to follow to achieve their objective. It must be instilled in them through patient repetition. Lesson 2—Use a harness, not a collar. While we want to ensure quick response to our commands, instead of “choking”
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our students into compliance, we should teach them to follow our lead. When I gave Annabelle greater freedom, I noticed that anytime I gave her the command to sit, she did so immediately. I did not have to keep her close and tug on her leash to gain her compliance. We want to inspire our students, rather than force them, to acquire musical knowledge and achieve musical excellence in performance. Ours is a creative art, and students need to have the autonomy to explore and experiment within the boundaries and guidelines we set. Lesson 3—Listen to your students, and if they express interest in an area of music that isn’t included in your daily lesson plan, be flexible enough to let them guide your instruction. Whenever Annabelle found an exciting smell to explore further, she was following her instincts. Allowing her to investigate the scent helped satisfy her curiosity. If a student asks a question during a music class or rehearsal, and you
believe that responding can enrich your students’ musical knowledge, then follow their lead. Teaching in the moment is all about seizing that magical instructional opportunity to expand upon a musical idea or concept that was completely unplanned. Lesson 4—Allow students to assume leadership roles in the learning process. This can benefit them and you. When students lead, it provides you time to restore your energy, plus it empowers them to gain invaluable skills. However, you need to remain vigilant, to ensure they are staying on track and are receiving accurate instruction. When Annabelle and I were walking uphill, she was in the front, pulling on her leash and helping me make those difficult steps at the end of the journey. In the same way, when our energy is depleted and we become discouraged and disheartened, we can draw from our students’ excitement and enthusiasm to inspire us to soldier on.
2020 President’s Concert Dallas Winds • Jerry Junkin, Music Director Thursday, February 13 • 8 PM • Lila Cockrell Theater W W W.TME A .ORG/PRESIDENTSCONCERT
Lesson 5—Cleaning up comes with the territory. Your students are going to make mistakes and sometimes make poor decisions. If you encourage your students to take risks, they are going to fail. They need support, encouragement, guidance, counseling, and advice along their educational pathway. You are the person they turn to because they trust and respect you. Lesson 6—At the end of a day of teaching, you are typically exhausted because you have devoted so much physical, mental, and emotional energy into the instructional process. If you have done your job properly, your students will also feel that they have had a workout. And while they cannot follow Annabelle’s routine of curling up on their bed and immediately falling asleep, hopefully, at the end of day, they can feel a great sense of accomplishment. Epilogue After our walk, Annabelle had some water, and being fully satisfied, fell soundly asleep. I filled my glass with water, collapsed in my recliner, and sat looking at Annabelle, an unremarkable dog, yet the purveyor of great wisdom. Perhaps tomorrow I will bring my chihuahua, Sammie, on a walk and see what she can teach me. I know the pace will be slower, the distance shorter, and I will probably end up carrying her up the hill at the end of the walk. I see another lesson emerging that focuses on modifications. I may have to put that on hold, however, because rain is in the forecast for tomorrow. 2020 Convention Update In celebration of TMEA’s Centennial, special sessions focusing on the history of TMEA will be held in each division. Will May, TMEA Past College Vice-President and Past-President, will present “Sharing Wisdom, Earning Trust: A Candid History of the College Division,” which will focus on the origins, key moments, and influences of the College Division since its formation in 1950. Janice Killian, Past Vice-President, will deliver “The Growth of Music Education Research from 1978 to 2020” based on research posters listed in TMEA conference programs and manuscripts published in Texas Music Education Research. All historical sessions will be denoted by “#TMEA100” at the beginning of the title.
64 Southwestern Musician | November 2019
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