TN Musician Vol. 69 No. 1 (proof 4)

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The Official Publication of the Tennessee Music Education Association<br />

Meet the New<br />

TMEA State Chairs<br />

p. 25<br />

Going Social<br />

by Andy Stewart<br />

& Robert Ward<br />

p. 14<br />

What to Know<br />

Before You Post<br />

by Karen Cross<br />

p. 20<br />

VOLUME <strong>69</strong>, NO. 1



Michael W. Chester<br />

Managing Editor and Advertising Manager<br />

Justin T. Scott<br />

Associate Editor<br />

Laura Boucher<br />

Associate Style Editor<br />

Jazmin Jordan<br />

Social Media Director<br />

Allison Segel<br />

Pre-Production Editor<br />

Contributing Editors<br />

Matthew Clark<br />

Susan Mullen<br />

Doug Phillips<br />

Carol King-Chipman<br />

Jerome Souther<br />

TABLE OF CONTENTS | 2016 | VOLUME <strong>69</strong>, <strong>No</strong>. 1<br />

Prelude – A Message from the Editor 6<br />

Michael Chester<br />

TMEA Executive Director’s Message 8<br />

Ron Meers<br />

TMEA President’s Message 10<br />

Johnathan Vest, Ed. D.<br />

TMEA - By the Numbers/Verbatim 12<br />

Mathew Clark<br />


6024 45th Street<br />

Lubbock, Texas 79407<br />

(800) 794-5594 office<br />

(806) 794-1305 fax<br />

Director of Creative Services<br />

Rico Vega<br />

Graphic Design<br />

Taylor Sutherland<br />

Account Executive<br />

Ian Spector<br />

All editorial materials should be sent to: Michael Chester, Managing<br />

Editor (615-873-0605) E-mail: editor@tnmea.org.<br />

Submit materials by e-mail in Microsoft Word format.<br />

Advertising: Information requests and ad orders should be<br />

directed to: Michael Chester, Managing Editor (615-<br />

873-0605) e-mail: editor@tnmea.org. All advertising<br />

information is on the TMEA web site, www.tnmea.org.<br />

Deadlines for advertisement orders and editorial materials:<br />

Issue <strong>No</strong>. 1 – Deadline: August 15 (in home delivery<br />

date October 15); Issue <strong>No</strong>. 2 – Deadline: October 15 (in<br />

home delivery date December 15); Issue <strong>No</strong>. 3 – Deadline:<br />

December 15 (in home delivery date March 15);<br />

Issue <strong>No</strong>. 4 – Deadline: February 15 (in home delivery<br />

date May 15)<br />

Tennessee <strong>Musician</strong> is copyrighted. Reproduction in<br />

any form is illegal without the express permission of<br />

the editor.<br />

Postmaster: Send address changes to: Tennessee <strong>Musician</strong>,<br />

c/o National Association for Music Education<br />

(NAfME), 1806 Robert Fulton Drive, Reston, VA<br />

20191-4348.<br />

<strong>No</strong>n-Profit 501(c)(3) Organization U.S. Postage Paid<br />

at Lubbock, Texas. ISSN Number 0400-3332; EIN<br />

number 20-3325550<br />


Going Social 14<br />

Andy Stewart and Robert Ward<br />

What to Know Before you Post 20<br />

Karen Cross<br />


TMEA State General Music Chair’s Message 25<br />

Linzie Mullins<br />

TMEA State Choral Chair’s Message 26<br />

W. Fitzgerald Patton<br />

TMEA State Orchestra Chair’s Message 28<br />

Michelle Clupper<br />

TMEA State Band Chair’s Message 31<br />

David Chipman<br />

TMEA State Higher Education Chair’s Message 32<br />

Ryan Fisher, Ph. D.<br />

TMEA State Collegiate NAfME Chair’s Message 34<br />

Jennifer Vannatta-Hall, Ed. D.<br />

TMEA State Educational Technology<br />

Chair’s Message 37<br />

Lisa Leopold<br />

STME/TMEA Research Chair’s Message 38<br />

Jamilla McWhirter, Ph. D.<br />

Tennessee <strong>Musician</strong> Advertiser Index 39<br />

TMEA Back Then 40


TMEA OFFICERS 2016-2017<br />


Ron Meers<br />

execdirector@tnmea.org<br />


Johnathan Vest, Ed. D.<br />

president@tnmea.org<br />



Linzie Mullins<br />

genmusicchair@tnmea.org<br />


Gerald Patton<br />

pattong@rcschools.net<br />


Michelle Clupper<br />

michelle.clupper@knoxschools.org<br />


David Chipman<br />

banddir@bellsouth.net<br />


Ryan Fisher, Ph. D.<br />

rfisher3@memphis.edu<br />



Linzie Mullins<br />

genmusicchair@tnmea.org<br />


Information not received<br />


Lalania Vaughn<br />

lvaughn@rebelmail.net<br />


Christopher Davis<br />

davischristophert@gmail.com<br />


Stephen Price<br />

prices@gcssd.org<br />


Ollie Liddell<br />

ollie_liddell@hotmail.com<br />


Alexis Yatuzis-Derryberry<br />

derryberrya@rcschools.net<br />


Information not recived<br />


Michael Choate<br />

choatem@pcsstn.com<br />


Lafe Cook<br />

pres-elect@tnmea.org<br />

2 | TENNESSEE MUSICIAN | 2016 | <strong>Vol</strong>ume <strong>69</strong>, <strong>No</strong>. 1<br />


Jeff Phillips, Ed. D.<br />

jeffrey.phillips@sumnerschools.org<br />


Jennifer Vannatta-Hall, Ed. D.<br />

jennifer.vannatta-hall@mtsu.edu<br />



Lisa Leopold<br />

lwleopold@gmail.com<br />



Michael Chester<br />

editor@tnmea.org<br />


Justin Scott<br />

justin.scott@tcsedu.net<br />


David Aydelott<br />

president@mtsboa.org<br />


Debbie Burton<br />

dlburton98@gmail.com<br />


Margaret Moore<br />

mamcmoore57@aol.com<br />


Marcus Smith<br />

marcus.smith@knoxschools.org<br />


Kenton Deitch<br />

kenton.deitch@knoxschools.org<br />


Stephanie Coker<br />

scoker@acs.ac<br />


Gary Wilkes<br />

gwilkes428@gmail.com<br />


Alan Hunt<br />

ahunt@bradleyschools.org<br />



Brad Turner<br />

brad.turner@acsk-12.org<br />


Paul Waters<br />

paulwaters.tmea@gmail.com<br />


Jo Ann Hood<br />

jhood10105@aol.com<br />


<strong>TN</strong> ALL-STATE CHORAL GENERAL CHAIR:<br />

Amanda Ragan<br />

aragan@ortn.edu<br />



Tiffany Barton<br />

tntreblechoir@gmail.com<br />

<strong>TN</strong> ALL-STATE SATB ENSEMBLE CHAIR:<br />

Kim McLemore<br />

kimberly.mclemore@mnps.org<br />


Amanda Short<br />

amandalovellshort@gmail.com<br />


Johnny Kimbrough<br />

johnny.kimbrough@jcseagles.org<br />

<strong>TN</strong> ALL-STATE 9TH - 10TH GRADE STRING<br />


Gary Wilkes<br />

gwilkes428@gmail.com<br />



Position unfulfilled at this time<br />


Chip Henderson<br />

paul.henderson@mtsu.edu<br />


Richard Ripani<br />

richard.ripani@mnps.org<br />



Chris Dye, Ed. D.<br />

christopher.dye@mtsu.edu<br />



Jamila L. McWhirter, Ph. D.<br />

jamila.mcwhirter@mtsu.edu<br />



Rick DeJonge<br />

rick.dejonge@khsmusic.com<br />


Mark Garey<br />

mgarey86@comcast.net<br />



John Mears<br />

mearsj@rcschools.net<br />


Jo Ann Hood<br />

jhood10105@aol.com<br />

<strong>TN</strong> ALL-STATE INSTRUMENTAL<br />


Martin McFarlane<br />

martin.mcfarlane@tcsedu.net<br />

<strong>TN</strong> ALL-STATE 11TH - 12TH GRADE SYMPHONIC<br />


Jessica Peck<br />

peck_j@hcde.org<br />

<strong>TN</strong> ALL-STATE 9TH - 10TH GRADE CONCERT<br />


J.R. Baker<br />

john.baker@rcstn.net<br />

<strong>TN</strong> ALL-STATE 11TH - 12TH GRADE CONCERT<br />


Carter <strong>No</strong>blin<br />

noblinc@wcschools.com<br />

<strong>TN</strong> ALL-STATE JAZZ BAND CHAIR:<br />

Cord Martin<br />

corderyl.martin@gmail.com<br />


Lisa Leopold<br />

lwleopold@gmail.com<br />


Todd Shipley<br />

todd.shipley@mnps.org<br />



Tiffany Barton<br />

tntreblechoir@gmail.com<br />


Position unfulfilled at this time<br />


Bobby Jean Frost<br />


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4 | TENNESSEE MUSICIAN | 2016 | <strong>Vol</strong>ume <strong>69</strong>, <strong>No</strong>. 1

• Competitive<br />

scholarships available<br />

• Music ensembles from<br />

symphony to salsa<br />

• 200+ music<br />

events per year<br />

• Ten undergraduate<br />

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Friday, February 17, 2017<br />

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Tuesday, <strong>No</strong>vember 1, 2016<br />


MTSU Box 47<br />

Murfreesboro, <strong>TN</strong> 37132<br />

615-898-24<strong>69</strong><br />

mtsumusic.com<br />

Middle Tennessee State University does not discriminate on the basis of race, color, national origin, sex, or disability. See our full policy at mtsu.edu/titleix.


Michael Chester<br />



WHERE WE ARE NOW . . . AND<br />


6 | TENNESSEE MUSICIAN | 2016 | <strong>Vol</strong>ume <strong>69</strong>, <strong>No</strong>. 1<br />

was founded in 1945 with a mission “to promote<br />

and activate a useful and broad program<br />

of music education in the schools.” At that<br />


time the newly formed TMEA worked closely<br />

with the Tennessee Department of Education,<br />

college/university music education departments,<br />

and city music supervisors to essentially help lead and<br />

support the advancement of music education at all levels<br />

across Tennessee. Reading about the early years of<br />

the Tennessee Music Education Association, it would<br />

seem that there was a healthy level of collaboration between<br />

leaders, in various levels and agencies, who were<br />

vested in the advancement of music education. I would<br />

encourage many of you to visit the TMEA website and<br />

read past-president T. Earl Hinton’s A Brief History of<br />

the Tennessee Music Education Association. As I am<br />

sure we have all heard before: we have to know where<br />

we’ve already been to figure out where we are now . . .<br />

and where we want to go next.<br />

For many music teachers in Tennessee, the perceptual<br />

norm always seems to center on the notion<br />

that TMEA is merely the agency that organizes the<br />

annual conference and all-state ensemble events and<br />

that it is somehow obligatorily affiliated with NAfME.<br />

While many who have served TMEA in any voluntary<br />

capacity would probably argue that the organization

is much more than event management, perhaps we should take<br />

a look at the bigger picture for a moment and not be so quick to<br />

dismiss this perception.<br />

The landscape of teaching in America has seen lots of changes<br />

since TMEA was founded. Veteran teachers would no doubt say<br />

that many initiatives in education are cyclical. The new wave of<br />

current educational reform is based on the same principles of the<br />

reforms of past decades, only packaged with new buzz words, fancy<br />

marketing, and promotional materials that look good on coffee<br />

tables in the offices of administrators and politicians. While much<br />

of that is grounded in truth, the fact remains that what teachers are<br />

being asked to do today is drastically different then it was in 1945.<br />

Music teachers, in particular, are asked to do more with far less resources<br />

and far less instructional time than that of their predecessors.<br />

Today’s teachers simply do not have enough time to manage all<br />

of the expectations placed upon them. Let us consider the fact the<br />

needs of students have changed and the shifting family dynamic has<br />

placed more responsibility on teachers to act as surrogate parents.<br />

Still, the demands placed upon music teachers, if they really want to<br />

do the job the right way, is more than 40 hours a week. If our current<br />

generation of music teachers were working in the corporate world,<br />

those that excel would be given financial incentives, and the resources<br />

to do their job. In terms of a career, it is a difficult argument<br />

to make that those who major in any field of education will truly see<br />

a return on their investment. We all know that the profession of education<br />

is a calling. However, are we really that surprised that more<br />

teachers leave the profession after three years?<br />

So if this is the current landscape for music teachers in America,<br />

and in particular Tennessee, is it any wonder that it’s hard to<br />

attract volunteers to serve in the regional organizations and in<br />

TMEA? Who really has the time? If the landscape has so drastically<br />

changed, as we have seen, then perhaps it is time to truly change<br />

what TMEA is and does. I believe that the strength of our organization,<br />

which has for so long rested on the bedrock of great leadership<br />

and forward thinking, is about the people it serves. I imagine that<br />

within the next decade, we could see a drastically different TMEA.<br />

Let’s dream big for a moment. In this version of a future TMEA, we<br />

could have a state level organization, with fully paid staff and dedicated<br />

office space. We could have lobbyists who work on behalf of<br />

the interests of music teachers. We could have a state level organization<br />

that could supplant the burdens faced by regional organizations.<br />

We could have an organization that understands the needs of<br />

Tennessee music educators in the volatile wake that is education<br />

reform. We could have a state level organization who seeks to identify,<br />

encourage, and support diversity among emerging leaders. We<br />

could have an organization who has close ties with the Tennessee<br />

Department of Education.<br />

In this version of TMEA, those who place students first are<br />

served by an organization who places music teachers first. We are<br />

very fortunate that the current TMEA executive board and new<br />

TMEA state chairs are already hard at work setting the foundation<br />

for many of the ideas mentioned. Our leadership is working for positive,<br />

transformative change that will strengthen TMEA for future<br />

decades to come.<br />

I would encourage each of you to read The Advantage by New York<br />

Times bestselling author Patrick Lencioni. In this book, Lencioni<br />

examines some of the nations’ leading organizations and argues<br />

that the key competitive advantage in today’s digital age within<br />

any organization rests on its organizational health and well-being.<br />

When an organization’s culture is whole, its operations and<br />

mission are clear and consistent and it creates an environment<br />

with an advantage unlike no other. Since the time of its founding,<br />

TMEA has relied heavily on the volunteerism of its members. For<br />

a time, that was certainly a sustainable model for the organization.<br />

Times however, have changed. Music teachers are more transient.<br />

We have more members than ever before, and the need to support<br />

music teachers (from those in their pre-service years to those who<br />

are about to retire) beyond professional development conferences,<br />

has never been greater than it is now. If TMEA was able to leverage<br />

its own financial resources, perhaps the organization would have<br />

less need to rely on a volunteer staff, and instead it would be able<br />

to hire staff to take care of the needs of the organization, thus allowing<br />

volunteers to focus their energies on their primary job and<br />

responsibilities – the students and community that they serve. I do<br />

want to point out that I am not calling for an end to the numerous<br />

volunteers that serve TMEA in various capacities. What I am saying<br />

is that for those who have served or who are currently serving,<br />

it removes a huge burden. Every volunteer wants to see TMEA become<br />

the model state music education association but not at the<br />

expense of their time served in the classroom. TMEA is no longer a<br />

“ma and pa” organization and in order to truly serve the needs of the<br />

membership beyond the professional development conference, the<br />

organization must change. In order to make that change happen, it<br />

must have support from its members who can truly see the vision<br />

and the bigger picture.<br />



2017:<br />

April 21-22<br />

April 28-29<br />

May 5-6<br />

Michael Chester<br />

Managing Editor<br />

2018:<br />

April 20-21<br />

April 27-28<br />

May 4-5<br />

www.SMMFestival.com<br />

or call:1-855-766-3008<br />

Tennessee Music Education Assocation | www.tnmea.org | 7


Ron Meers<br />

I H O P E A L L O F Y O U A R E H AV I N G A<br />

GREAT SCHOOL YEAR! Thank you all for<br />

your continued support of TMEA and music<br />

education in Tennessee!<br />

I would like to once again express my<br />

sincere appreciation to the volunteers who<br />

are so valuable to TMEA and music education<br />

in Tennessee. Without volunteers we<br />

would not be able to offer assessment and<br />

performance opportunities for Tennessee<br />

music programs. Thank you for your<br />

dedicated service!<br />

Speaking of volunteers, TMEA is in<br />

need of a tech savvy person to populate<br />

the information on the mobile application,<br />

EventMobi, used by conference attendees<br />

and All State students. It is a fairly simple<br />

process but is very important resource<br />

for our conference. For more information<br />

please contact me ASAP!<br />








To say the least, changing venues for<br />

our In-Service/All State Conference three<br />

times in five years has been challenging. I<br />

believe you will see many changes that will<br />

improve your conference experience in<br />

2017. TMEA is currently in the final stages<br />

of contractual negotiations with Opryland<br />

that should provide our all-state ensembles<br />

with an improved concert venue;<br />

however, to secure the larger area TMEA<br />

will be required to increase our housing<br />

block at the Gaylord Opryland Hotel. Unlike<br />

Chattanooga and Memphis, Opryland<br />

ties the convention space to the number of<br />

rooms booked at the hotel by the association.<br />

Those of you who chose to room offsite<br />

last year, we need you to help pay for<br />

the space used by the conference by booking<br />

your rooms at Opryland in 2017. If we<br />

do not fill our housing block this year, we<br />

will have to pay a penalty to the hotel based<br />

on the number of rooms we did not fill.<br />

There is an additional issue that we<br />

need to address concerning housing. I will<br />

try to explain this, but if you need more<br />

information, please contact me. All hotels<br />

have a cut-off date for booking housing.<br />

The TMEA Cut-Off date is March 21st. After<br />

the 21st, no rooms can be booked into<br />

the TMEA block of rooms. The problem<br />

is, if a member cancels a room after<br />

the 21st, the room cannot be filled by another<br />

member AND is counted as a room<br />

NOT FILLED according to our contract.<br />

In 2016, we had over 600 rooms booked<br />

for Wed. night of conference. Around forty<br />

members canceled their rooms after<br />

March 21st, which means we did not fill<br />

our contractual obligation for rooms filled<br />

on Wed. night. Luckily, Thursday night we<br />

were able to go over our minimum number<br />

of rooms and the average was enough to<br />

keep us from being penalized (the financial<br />

penalty is substantial). Everything<br />

TMEA does is a team effort. Please help by<br />

booking your housing at Gaylord Opryland<br />

in 2017 and not cancelling any rooms at<br />

Opryland after March 21st. Thank you!<br />

As you know, the passage of ESSA legislation<br />

will impact music education across<br />

the country. TMEA is working on a plan to<br />

provide information concerning proposed<br />

legislation that could affect music education<br />

in Tennessee to your parent support<br />

groups. Please take a moment and register<br />

your parent support group now.<br />

The registration link is under Advocacy on<br />

the WWW.<strong>TN</strong>MEA.org website: http://<br />

www.tnmea.org/booster-registration.html<br />

Thanks again to all of you who “go the<br />

extra mile” to provide all students with<br />

musically enriching activities by volunteering<br />

to chair events or to be candidates<br />

for association offices. Without you, music<br />

education would be at risk and could not<br />

provide so many educational experiences<br />

to so many students in Tennessee! Thank<br />

you! I ask you to please look for and encourage<br />

other talented teachers to volunteer<br />

and be involved. Our music students<br />

deserve our best!<br />

I hope you all have a very successful<br />

school year and enjoy working with the<br />

BEST students in your school! Please do<br />

not hesitate to call on me if I may be of any<br />

assistance to you or your music program!<br />


The TMEA Discount Meal Cards will<br />

be available on the TMEA website<br />

this year<br />

• Beginning Feb. 1st. Please support<br />

this effort. The sale of Meal cards<br />

counts toward our<br />

• $50,000 food and beverage<br />

contract agreement with Opryland<br />

Gaylord Opryland Reservations will<br />

open on February 1st on the TMEA<br />

Website<br />

Gaylord Opryland Reservation Cutoff<br />

date, March 21st, 2017.<br />

(Please make your reservations before March<br />

21st and cancel any rooms not needed BEFORE<br />

March 21st.<br />

Plan to attend the TMEA Professional<br />

Development Conference, April<br />

5th – 8th, 2017, Opryland Hotel and<br />

Convention Center<br />

8 | TENNESSEE MUSICIAN | 2016 | <strong>Vol</strong>ume <strong>69</strong>, <strong>No</strong>. 1


2016-17 NEW FACULTY<br />

Mélisse Brunet<br />

Director of Orchestral Activities<br />

Yo-Jung Han<br />

Music Education<br />

Gennard Lombardozzi<br />

Tenor, Director of Opera<br />

*Saturday, December 3, 2016<br />

(Instrumental Areas)<br />


Saturday, February 11, 2017<br />

(Instrumental Areas)<br />

*Saturday, January 21, 2017<br />

(Instrumental and Vocal Areas)<br />

*Saturday, January 28, 2017<br />

(Instrumental and Vocal Areas)<br />

Saturday, March 4, 2017<br />

(Instrumental and Vocal Areas;<br />

for admission only, no scholarship<br />

consideration)<br />

*To be eligible for the Hayes Young Artist Competition<br />

($7,500 annual renewable scholarship), prospective<br />

students must audition on these dates.<br />

music.appstate.edu/prospective-students • 828-262-3020<br />

Tennessee Music Education Assocation | www.tnmea.org | 9


Johnathan Vest, Ed. D.<br />

LET ME BEGIN by mentioning how<br />

honored I am to help lead such an<br />

incredible group of educators. Your<br />

commitment to our field and our students<br />

is unmatched, and I hope that TMEA<br />

can grow in its support of what you do every<br />

day. Serving as President-Elect for the<br />

past two years, I have had the opportunity<br />

to watch and learn from two amazing<br />

Past-Presidents, Dian Eddleman and Jeff<br />

Phillips. They have worked tirelessly to increase<br />

the effectiveness of our organization.<br />

I am excited to help continue their work.<br />

I would like to thank our Executive Director,<br />

Ron Meers, for all of his hard work<br />

for our organization and especially for being<br />

patient with all of my questions.<br />

First, a brief report on the work of the<br />

board this summer. The Executive Board,<br />

along with Michael Chester: our State Editor,<br />

Mike Mann: our previous Collegiate<br />

Chair, and 3 college students, attended the<br />

National Assembly in Washington D.C. in<br />

June. We were able to meet with the offices<br />

of our two senators and three representatives<br />

to thank them for their support of<br />

ESSA and its mention of music as a core<br />

academic subject and to encourage them<br />

to vote to fully fund the various provisions<br />

of the bill.<br />

I am pleased to say that we have an extremely<br />

talented, hard-working, and organized<br />

group of people on the board this year.<br />

We met in June to discuss several items.<br />






Beyond improving the conference, I have<br />

three main agenda items for this year:<br />

1. First, I want to increase the support<br />

TMEA gives to our general music teachers.<br />

I taught general music for 12 years,<br />

and I know how vital these teachers and<br />

programs are to the success of all of our<br />

programs. We MUST have a strong membership<br />

at the general music level to be an<br />

effective organization in the future. Linzie<br />

Mullins, our General Music Chair, and<br />

Charlene Cook, who previously held this<br />

position, are working hard to find ways<br />

to accomplish this goal. We are hoping to<br />

host workshops throughout the year in<br />

each region, as well as having a 4-hour session<br />

on the Saturday of TMEA conference<br />

for those teachers that may have difficulty<br />

getting time off during the week to attend.<br />

2. Second, I would like to see TMEA become<br />

a powerful advocacy organization<br />

at the state level. While NAfME has done<br />

great work at the national level, it is up to<br />

TMEA to advocate for music right here in<br />

Tennessee. Chris Dye from MTSU is now<br />

serving as our advocacy chair, and he has<br />

begun plans for our first TMEA Hill Day in<br />

March of 2017. The primary goal this year<br />

will be to build relationships with our lawmakers,<br />

and build awareness about music<br />

education. We will be in touch with more<br />

details as we go forward. In addition, Stephen<br />

Coleman, former TMEA President<br />

and current President of the Tennessee<br />

Arts Commission, is working with us and<br />

our regional associations to hire a lobbyist<br />

that will keep us informed of any legislation<br />

that impacts music education.<br />

3. Finally, the recent changes at NAfME<br />

have highlighted the need for us to identify<br />

diversity in the leadership of TMEA.<br />

This is a complicated issue and there are<br />

no easy solutions, but I believe that identifying<br />

and mentoring a slate of young and<br />

diverse leaders is paramount to this effort.<br />

10 | TENNESSEE MUSICIAN | 2016 | <strong>Vol</strong>ume <strong>69</strong>, <strong>No</strong>. 1

My plan is to have a “Leadership Academy” next summer that will<br />

involve some of our up–and-coming teachers that may not have<br />

had the opportunity to be in a leadership position. I will be asking<br />

some of you to be involved in this effort.<br />

Conference planning, and the improvement of conference, always<br />

looms large when the board meets. While overall successful,<br />

I know there were problems with our rehearsal and performance<br />

venues the past year. We are taking steps to remedy this and I<br />

think we have come to a solution. It looks like we have secured<br />

the Presidential Ballroom as the venue for our All-State concerts.<br />

This is the largest ballroom in the hotel, with a stage large<br />

enough to accommodate all of our performing groups. There is a<br />

catch, of course: To secure<br />

this ballroom, we must book<br />

800 hotel rooms on our peak<br />

nights during the conference.<br />

If we don’t do this, we will<br />

be penalized financially beyond<br />

what we can manage. I<br />

implore you to please stay at<br />

the conference hotel. I know<br />

that many of you and your<br />

students have been staying<br />

at a cheaper hotel during the<br />

conference. I understand that<br />

the cost involved with bringing<br />

students (and yourself )<br />

to the conference is high, and<br />

we want to be respectful of<br />

that fact; however, if we do<br />

not book the required number<br />

of rooms, then we will be<br />

forced to return to holding<br />

our all-state concerts in a<br />

barn-like environment with<br />

birds flying around. Booking<br />

these rooms will also ensure<br />

that we have adequate rehearsal<br />

space for our all-state<br />

ensembles, which was also a<br />

problem last year.<br />

To assist with making<br />

the hotel more affordable,<br />

we have created a form that<br />

you can complete to find<br />

roommates for you or your<br />

students. Go to http://www.<br />

tnmea.org/all-state-roommates.html<br />

to enter your information.<br />

For instance, if<br />

you have 2 boys in the TTBB<br />

choir, you put in that you<br />

would like to pair those students<br />

up with 2 other boys<br />

from another school. Once<br />

you enter your information,<br />

you can click on “View the<br />

form entries” to connect with<br />

other directors who have the<br />

same needs as you. You will<br />

Strategies and Ideas<br />

for Music Educators…<br />




be responsible for contacting the other directors to coordinate<br />

your room and payment situations. I know that ETSBOA has done<br />

this in the past and it has worked well for them.<br />

Of course there are many other items we are working on, and I<br />

will keep you informed as things progress and new issues arise.<br />

This is an exciting time for our organization. It is not without its<br />

challenges, but I am confident that together, we can meet these<br />

challenges head on. If you have any questions, concerns or ideas<br />

please email me at president@tnmea.org.<br />



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Tennessee Music Education Assocation | www.tnmea.org | 11


by Matthew Clark<br />

On the 2012 SAT, students who participated in music<br />

scored an average of 31 points above average in reading, 23<br />

points above average in math, and 31 points above average<br />

in writing.<br />

College Board SAT, 2012 College-Bound Seniors: Total Group Profile<br />

Report. (See table 18.)<br />

Schools that have music programs have significantly<br />

higher graduation rates than do those without music programs<br />

(90.2 percent as compared to 72.9 percent). In addition,<br />

those that rate their programs as “excellent or very<br />

good” have an even higher graduation rate (90.9 percent).<br />

Harris Interactive Inc. (2006). Understanding the Linkages Between<br />

Music Education and Educational Outcomes.<br />

Schools that have music programs have significantly<br />

higher attendance rates than do those without programs<br />

(93.3 percent as compared to 84.9 percent).<br />

Harris Interactive Inc. (2006). Understanding the Linkages Between<br />

Music Education and Educational Outcomes.<br />

In spite of this public support and documented benefits,<br />

“only one in four eighth graders reported being asked to<br />

sing or play a music instrument at least once a week.”<br />

-1998 NAEP Assessment<br />

https://www.musicforall.org/who-we-are/advocacy/quick-facts<br />

12 | TENNESSEE MUSICIAN | 2016 | <strong>Vol</strong>ume <strong>69</strong>, <strong>No</strong>. 1

A two-year Swiss study involving 1,200 children in 50<br />

schools showed that students involved in the music<br />

program were better at languages, learned to read more<br />

easily, showed an improved social climate, showed more<br />

enjoyment in school, and had a lower level of stress than<br />

non-music students.<br />

-Weber, E.W., Spychiger, M. & Patry, J.L. (1993)<br />

https://www.musicforall.org/who-we-are/advocacy/quick-facts<br />

State-level arts spending dropped from $409 million in<br />

fiscal year 2002 to 354.5 in fiscal year 2003 and declined<br />

again to $272.4 million in 2004.<br />

- National Assembly of State Arts Agencies https://www.musicforall.<br />

org/who-we-are/advocacy/quick-facts<br />

70% of those who were involved in music say that it was<br />

at least somewhat influential in contributing to their current<br />

level of personal fulfillment.<br />

Harris Interactive Inc. (2008). MENC Executive Omnibus Results<br />

Summary.<br />

Federal funding for the arts and humanities rolls in<br />

around $250 million a year, while the National Science<br />

Foundation is funded around the $5 billion mark.<br />

https://www.dosomething.org/us/facts/11-facts-about-arts-education<br />


The musician is constantly adjusting decisions on tempo, tone, style, rhythm, phrasing, and feeling—<br />

training the brain to become incredibly good at organizing and conducting numerous activities at<br />

once. Dedicated practice of this orchestration can have a great payoff for lifelong attention skills, intelligence,<br />

and an ability for self-knowledge and expression.<br />

From A User’s Guide to the Brain, May 31, 2003; Ratey, John J., MD<br />

What is important is not how well a student plays but rather the simultaneous engagement of senses, muscles,<br />

and intellect. … Can you think of better exercise for the mind/brain?<br />

From “The Music in Our Minds,” Educational Leadership, <strong>Vol</strong>. 56, #3; <strong>No</strong>rman M. Weinberger<br />

Tennessee Music Education Assocation | www.tnmea.org | 13


by Andy Stewart & Robert Ward<br />

Today’s students are<br />

no longer the people<br />

our educational system<br />

was designed to teach.<br />

—Mark Prensky,<br />

author of Teaching Digital Natives<br />

14 | TENNESSEE MUSICIAN | 2016 | <strong>Vol</strong>ume 68, <strong>No</strong>. 4


observation is certainly disturbing,<br />

it’s equally difficult to deny.<br />

The digital world our students<br />

occupy is quite different from anything<br />

most of us have experienced. All they have<br />

known is instant access to information,<br />

communication, and constant stimuli—a<br />

reality that isn’t always reached by traditional<br />

teaching methods. This is not, however,<br />

meant to discount those methods. In<br />

fact, they remain necessary for developing<br />

well-rounded students. Yet, to ignore the<br />

possibilities inherent in the digital space<br />

is to deny an extra measure of success in<br />

the classroom.<br />

Students now have access to more<br />

knowledge than most of us could have<br />

imagined when we were in school. What<br />

is more fascinating is that they regularly<br />

make use of these resources. Whether they<br />

learn how to do something via YouTube or<br />

engage in a conversation via social media,<br />

today’s students will make use of anything<br />

available to them. Therefore, it is necessary<br />

for teachers to develop a digital presence.<br />

It may be as simple as a social media<br />

connection or instituting online lessons.<br />

In each, the teacher’s presence is felt. It<br />

is important to remember that this is not<br />

a personal connection but an extension of<br />

the classroom and should be maintained<br />

as such. While students should not have<br />

access to a teacher’s vacation photos, by<br />

sharing images from a class trip or recent<br />

concert, you can infuse positive energy<br />

into the program.<br />

Some might write off the rise of connected<br />

devices as nothing more than an<br />

added distraction in the classroom, yet the<br />

rapid ascent of mobile, always-on technology<br />

is not devoid of usefulness. In fact, the<br />

very reasons this technology can become<br />

a source of conflict during instruction are<br />

also what make it an incredibly efficient<br />

means of connecting with students. There<br />

are tools and possibilities available to all of<br />

us if we are willing to embrace them.


Gone are the days of typing, printing,<br />

copying, and sending home a paper note.<br />

The frequency with which our students<br />

turn their eyes to their smartphones or<br />

tablets overshadows any thought they<br />

would give to a note you send home with<br />

them. Social media not only replaces those<br />

traditional ways of communication, but it<br />

can serve to improve the consistency, effectiveness,<br />

and scope of what you share.<br />

It is important to stress that all social<br />

media communication should be through<br />

accounts or pages created specifically for<br />

your organization and not personal accounts.<br />

Organization-specific accounts<br />

protect you and your students and allow for<br />

administrative oversight, if set up correctly.<br />

The most obvious use of social media is<br />

the replication of a traditional announcement<br />

or note. “Don’t forget to bring $5<br />

for lunch tomorrow,” “Concert is 1 week<br />

away—do you know where your uniform<br />

is?” “Full orchestra rehearsals are Tuesday<br />

and Thursday this week.” <strong>No</strong>tifications like<br />

these can be shared and viewed instantly<br />

on services such as Remind, Twitter and<br />

Facebook. The message is immediately<br />

available, visible to anyone following your<br />

account (parent, student, administrator,<br />

etc.), and is persistent, remaining in that<br />

space for reference at any time.<br />

Since many of the widely used platforms<br />

work best with frequent but shorter messages,<br />

they are also effective for conveying<br />

notes of affirmation to an ensemble or<br />

group. “Great rehearsal today!” “Excited<br />

about your progress!” “Congrats solo and<br />

ensemble participants!” Through traditional<br />

means, these short notes might not<br />

seem worth the effort. With social media, a<br />

few seconds can translate into a wealth of<br />

positive rapport.<br />

The instant nature of social media (especially<br />

in conjunction with mobile devices)<br />

allows for spontaneous sharing with<br />

your students. Great quotes, beautiful performances,<br />

and inspiring images are all<br />

around us. Facebook and Twitter are great<br />

for broadcasting quick messages through<br />

text, but they can also be used to share a<br />

photo, video, or audio clip that you find<br />

or create yourself. Likewise, services like<br />

Flickr and Instagram can be used to curate<br />

and share photos you take of your organization,<br />

inspirational images, concert posters,<br />

or fun Internet images related to your area.<br />

Lengthy articles or media are not necessarily<br />

the forte of many of these services.<br />

However, they can still be used to redirect<br />

followers to that information. Alongside<br />

a school or organization website, social<br />

media can be used to alert users to information<br />

they need. Share a link to the trip<br />

itinerary on your website, a poll or form to<br />

complete, or a video on YouTube of your<br />

group performing.<br />


Communication is a two-way street,<br />

and social media can offer a friction-free<br />

conversation between multiple parties. By<br />

requiring students to submit a reply, you<br />

have instant assurance that your message<br />

has been received. If there is confusion,<br />

most platforms offer ways for people to<br />

comment or respond to a post. A student<br />

or parent can ask a follow-up question<br />

immediately, thus reducing the potential<br />

of the message or question getting lost in<br />

translation or time by waiting to address it<br />

in class the next day.<br />

Educators are often searching for ways<br />

to empower their students and help them<br />

take ownership in a program. Posting discussion<br />

questions can go a long way toward<br />

students having input into your organization.<br />

“What would you like to see happen at<br />

the choir retreat?” “How can we get more<br />

people involved in our Spring Concert?”<br />

The nature of these commenting systems<br />

can lead to positive discussion among your<br />

students about a given topic as well.<br />

Social media is also a great way to collect<br />

student responses. “Share your favorite<br />

memory from orchestra this year.” “Who<br />

is available to play holiday music at the<br />

senior center next Saturday?” Some services<br />

like Twitter employ hashtags (#) to<br />

curate and track these posts. By creating a<br />

unique hashtag, members can post using<br />

that hashtag or search for it to see what<br />

others are posting on the same subject.<br />

Create a tag to use for class discussion or a<br />

tag to use on a group trip. <strong>No</strong>t only are you<br />

creating a means of gathering perspective<br />

and information, you are also empowering<br />

all of your students.<br />

Public Twitter profiles or Facebook Fan<br />

Pages allow for community and parent involvement<br />

as well. <strong>No</strong>t only can you promote<br />

upcoming events, but you can receive<br />

feedback from the community or interact<br />

with other local organizations. There are<br />

also other professional organizations and<br />

people on social media with whom to interact.<br />

By opening up dialogue with them, you<br />

open the door to networking, promoting,<br />

and enhancing your organization.<br />


One of the major advantages of our<br />

connectivity is the ability to extend the<br />

classroom. You may be familiar with Khan<br />

Academy, an online resource of math and<br />

science instructional videos. These videos<br />

are short and simple lessons that allow the<br />

viewer to take in the information at their<br />

own pace. In class, you might have to cover<br />

a topic three times as you begin feeling<br />

pressured to move on. If for any reason a<br />

student misses what you said, they don’t<br />

have the chance to receive that instruction.<br />

The idea of a flipped classroom can<br />

address that limitation.<br />

In a flipped classroom, you assign the<br />

instruction as homework and then do the<br />

application in class. This allows the student<br />

to spend as much time taking in the<br />

instruction as they need and gives the<br />

student access to the teacher during the<br />

application portion of the instruction. Social<br />

media has made it easy to share these<br />

lessons and provide a medium where students<br />

can network with each other and<br />

with the instructor outside the classroom.<br />

A simple implementation could be sharing<br />

a link to a website where they can learn<br />

the treble and bass clef notes. Assign it as<br />

homework and the next day in class, dive<br />

straight into application. If there is any<br />

confusion, students can comment on the<br />

post the instructor has made on the social<br />

media network.<br />

More complex lessons might need to be<br />

created by the instructor, and while this<br />

can be time consuming, the benefit is a library<br />

of lessons ready for years to come.<br />

By sharing them through your organization<br />

website, lessons of all kinds that are<br />

delivered via YouTube and other educational<br />

sites like ShowMe can be viewed by<br />

students outside of class as many times as<br />

is necessary.<br />

Instead of burning part CDs for every<br />

student, host them on the school website<br />

and share the links via social media. Create<br />

a pronunciation and translation guide<br />

for a piece and share the image on Facebook,<br />

Twitter, or Instagram. Students can<br />

practice it on their own and go back to it if<br />

needed at a later time.<br />

A YouTube or ShowMe video describing<br />

the phrase and dynamic structure of<br />

a piece and how to notate it in the score<br />

could save 20–30 minutes of valuable rehearsal<br />

time. Assigning it as homework, inclass<br />

discussion of these elements can be<br />

more meaningful and less tedious, saving<br />

time for more in-depth discussion.<br />

16 | TENNESSEE MUSICIAN | 2016 | <strong>Vol</strong>ume <strong>69</strong>, <strong>No</strong>. 1

Using social media to enhance and augment class discussion<br />

may also encourage more passive students to contribute. A Twitter<br />

or Facebook discussion of the poetry in a piece might open the<br />

door to someone who would otherwise be nervous about contributing<br />

in front of a group and could lead to a greater appreciation<br />

for the work by all of your students.<br />

Though the idea of using technology to enhance, augment, and<br />

even replace in-class instruction may seem daunting, most of<br />

these tools are readily accessible and easy to learn. Accept that<br />

your online lessons ( just like those in class) won’t be perfect.<br />

What you will find, however, is that most lessons that take 30<br />

minutes to teach in class can be taught in 3–5 minutes through an<br />

online resource or other video, image, or audio you create. Social<br />

media allows you to put that lesson directly in front of your students<br />

in a space they already occupy and leaves more time in class<br />

for the deeper connections to the music and each other that we all<br />

want our students to experience.<br />


You must take time to set up your online instructor presence<br />

correctly. If you take the time to implement them as you should,<br />

most social media platforms offer robust ways of protecting your<br />

privacy and that of your students.<br />

For more guidance on following best practices and establishing<br />

your own policies for responsible use of social media, read “What<br />

You Should Know Before You Post.”<br />

One is never afraid of the unknown; one is afraid of the known<br />

coming to an end. —Jiddu Krishnamurti<br />

Like the students we teach, communication has evolved from<br />

the traditional means with which most educators are comfortable.<br />

Today’s students are riding the front edge of this sea of change.<br />

Educators, too, should consider embracing this culture. Though it<br />

is not reasonable to abandon traditional teaching methods, utilizing<br />

the digital space that exists can help transform and enhance<br />

your curriculum for the digital age and, in doing so, help you connect<br />

with your students in a more authentic way.<br />

Andy Stewart is Director of Choirs at The Oakridge School in Arlington, Texas.<br />

Robert Ward is a music education graduate student and teaching assistant at<br />

Southern Methodist University. He has spent the past decade teaching middle and<br />

high school choir at Rowlett HS and at The Oakridge School.<br />

Reprinted from the Southwestern <strong>Musician</strong> with permission from Texas Music<br />

Educators Association.

Some are born with<br />

in their souls<br />

Heather Klossner, music education<br />

If authenticity had<br />

a soul, you would<br />

find it in the new<br />

faculty joining us<br />

this fall. Creativity<br />

flows through their<br />

veins. They were born<br />

with music in their<br />

blood. Like you, they<br />

belong at the UofM.<br />


B.M., M.M., D.M.A., Ph.D.<br />


Dec. 3, 2016<br />

Feb. 4, 2017<br />

Feb. 18, 2017<br />

Feb. 25, 2017<br />

memphis.edu/music<br />

William Shaltis, percussion<br />

Kimberly Patterson, cello<br />

Artina McCain, piano<br />

Marcin Arendt, violin<br />

Tennessee Music Education Assocation | www.tnmea.org | 19


by Karen Cross

TRYING TO KEEP UP with the rapid evolution in mobile technology and social media<br />

platforms can be overwhelming; yet the reality is that they offer undeniably effective<br />

and efficient means of communicating. As detailed in “Going Social” by Andy<br />

Stewart and Robert Ward, these technologies can help you keep students and parents<br />

informed, build a greater sense of community, and even extend the effectiveness of your<br />

instruction. While the technologies are quite easily accessible, using them effectively and<br />

responsibly isn’t always as simple as pressing send.<br />

Without face-to-face interaction, we<br />

lack the immediate opportunity to observe<br />

whether our communication was understood.<br />

And while this would suggest we<br />

should try to be clearer and more cautious<br />

in our electronic communications, the reality<br />

quite often seems the opposite—our<br />

hurried texts, social network updates, and<br />

emails at times reflect carelessness. And<br />

for educators, this can have significant and<br />

long-lasting consequences.<br />

In the April 2013 issue of School Band &<br />

Orchestra, an attorney specializing in education<br />

law reported on several legal issues<br />

facing music educators. He remarked:<br />

Given the potentially significant consequences,<br />

music educators who work<br />

so closely with students would do well<br />

to consider what department policies<br />

and/or personal professional practices<br />

should be put in place to protect themselves<br />

from facing the kinds of scenarios<br />

that people normally think would never<br />

happen to them . . . What would prevent<br />

a student from making any sort of false<br />

allegation? If the allegations can pass<br />

the initial “smell test,” what effect could<br />

it have on career, family, and reputation,<br />

even if eventually exonerated?” 1<br />


Considering the effectiveness as well as<br />

the potential pitfalls inherent in communicating<br />

electronically, it seems a bit confusing<br />

to know what’s best.<br />

To help answer this question, we surveyed<br />

fine arts administrators across Texas<br />

to learn about their educators’ use of social<br />

media, their district policies, and their advice<br />

about communicating electronically<br />

with students and parents. Responses by<br />

over 60 administrators demonstrated a<br />

consistent overall view about the benefits<br />

and concerns of teachers communicating<br />

electronically with students and parents.<br />

Over 85% said their teachers use social<br />

media to communicate with students and<br />

parents; almost all use email; 67% use a<br />

program Facebook page; and 58% text. Of<br />

the districts responding, 72% have electronic<br />

communications policies.<br />


While the information shared here was<br />

common across the state, always begin by<br />

using your district’s policies as the guide<br />

for communicating with your students and<br />

their parents. If your district doesn’t have<br />

a policy about electronic communication,<br />

start by creating at least a program-level<br />

policy, or work with administrators to establish<br />

one for the district. As you create a<br />

policy or review the one you have, consider<br />

the following common statements found in<br />

policies found in Texas:<br />

• Employees are held to the same professional<br />

standards in their public use of<br />

electronic media as they are for any other<br />

public conduct.<br />

• Employees will not share their personal<br />

networking sites with students or<br />

include students as members or friends.<br />

• Employees using text messaging<br />

must limit communications to matters<br />

within the scope of their professional<br />

responsibilities.<br />

• Employees have the right to participate<br />

in social networking sites; however, they<br />

should not post anything that would violate<br />

student confidentiality rights or that<br />

would negatively affect the perception of<br />

the employee’s ability to be effective in<br />

their job.<br />

• The district believes use of electronic<br />

media can be beneficial to students and<br />

parents in the educational process and in<br />

the communication of information.<br />

• The employee must maintain and is responsible<br />

for all communication within<br />

the program’s social network and cannot<br />

turn the responsibility over to a student<br />

or parent.<br />

• Parents must grant written permission<br />

for the director to send text messages<br />

about the program to their child and must<br />

further permit the director to copy the parent<br />

on all text messages sent their child.<br />

Tennessee Music Education Assocation | www.tnmea.org | 21

• Text messaging must be limited to between<br />

the hours of 6 A.M. and 9 P.M. unless<br />

addressing matters of immediate concern<br />

(e.g., late arrival home from an event).<br />

• The employee continues to be subject<br />

to applicable state and federal laws, local<br />

policies, administrative regulations, and<br />

the Code of Ethics and Standard Practices<br />

for Texas Educators, even when<br />

communicating regarding personal and<br />

private matters, regardless of whether<br />

the employee is using private or public<br />

equipment, on or off campus.<br />


If you researched this topic of educators’<br />

use of social media, you would find<br />

two common directives—not to friend<br />

students on your personal social network<br />

page and to set up a page specifically for<br />

your program communications. Even if<br />

you take these advised steps, understand<br />

that educators are held to the same standard<br />

in their personal social media updates<br />

that they are for their behavior in any other<br />

public venue. Just because you can limit<br />

whom you invite to your personal page,<br />

this offers no guarantee that the information<br />

you communicate will not find its way<br />

beyond your set of online friends.<br />

In 2010, the National Education Association<br />

reported that there had been three<br />

court cases in which teachers claimed that<br />

their First Amendment rights were violated<br />

when they were punished because of<br />

their postings on social networking sites.<br />

In all cases, the teachers lost. 4<br />

Even with concerns about using social<br />

media, administrators surveyed still view<br />

it as too beneficial not to use. With that in<br />

mind, we asked them what kind of guidance<br />

they would offer their teachers about<br />

the use of social media. Some common replies<br />

included:<br />

• Learn and follow your district’s policies.<br />

• Don’t use a personal Facebook page for<br />

your program.<br />

• Create a program Facebook page or<br />

Facebook group (research the differences<br />

to see what best fits your needs and<br />

policies).<br />

• Don’t friend students on your personal<br />

page.<br />

• Exercise caution when updating your<br />

personal page. It must continue to be a<br />

positive reflection on you as an educator.<br />

• Encourage parents to join the program’s<br />

Facebook page to help establish<br />

transparency.<br />

• If you allow students to post, create<br />

strict guidelines about that content, and<br />

monitor it.<br />

• Remove any posts that are questionable<br />

or that don’t pertain to the program.<br />

• Check your spelling and grammar—your<br />

writing should reflect positively your role<br />

as an educator, even in social media.<br />


Anyone who pays attention to the news is<br />

aware of instances in which inappropriate<br />

student-teacher relationships have been<br />

exposed through their text records. Even<br />

when no such relationship exists, the frequency<br />

or timing of texts can give districts<br />

the obligation to investigate. In a report<br />

about the changes to the Texas Educators’<br />

Code of Ethics in 2010, the Association of<br />

Texas Professional Educators explained<br />

that during the revision process, Texas Education<br />

Agency staff argued that texting is<br />

often evidence of “grooming” a student for<br />

a future inappropriate relationship.<br />

The State Board for Educator Certification<br />

(SBEC) accepted that a change was<br />

necessary—specifically providing that the<br />

nature, subject, purpose, timing or amount<br />

of communication could lead to a finding<br />

that the communication was inappropriate<br />

and warranted sanction. 5<br />

Some districts have reacted to concerns<br />

about texting by completely banning its<br />

use between teachers and students. In<br />

other districts, the only teachers allowed to<br />

text are those with extracurricular responsibilities.<br />

As mentioned above, 58% of the<br />

Texas music teachers represented by our<br />

survey results use texting to communicate<br />

with students and parents.<br />

When 78% of teens have a cell phone<br />

and 63% text regularly, it’s difficult to ignore<br />

the effectiveness of this medium, so<br />

we asked administrators to offer advice<br />

on texting. Of course, first follow your district’s<br />

guidelines. If your district doesn’t<br />

have a policy, create one and review it with<br />

your school administrators to gain their<br />

approval before implementing it.<br />

The following are suggestions offered by<br />

administrators about responsible texting:<br />

• Get administrator approval on the type<br />

of content that will be texted and stick to<br />

that.<br />

• Text students only if you have their parental<br />

permission (some require parents<br />

to be copied on all texts as well).<br />

• Text only groups (if you must text an<br />

individual, include their parent).<br />

• Copy a coworker or fine arts administrator<br />

on texts.<br />

• Text about program information only.<br />

• Do not text anything personal, ever.<br />

• Instead of your personal cell phone,<br />

use a web application to send group texts<br />

(e.g., Remind, Charms).<br />

• Don’t overuse texting.<br />

• Immediately report to a supervisor any<br />

questionable texts<br />

received from a student.<br />

• Reread every text before sending.<br />

• Do not text in the late evening hours.<br />

• Don’t respond to any text that isn’t<br />

about the program<br />

information.<br />


The use of social media raises several<br />

concerns, but it also raises opportunity—<br />

the opportunity to teach students about<br />

responsible use. For example, in each of their<br />

music program handbooks, Leander ISD includes<br />

a section on Digital Citizenship. The<br />

following is an excerpt from this policy:<br />

Members are responsible for their personal<br />

websites and postings, as well as<br />

posting from or on other students’ websites.<br />

The areas of appropriateness will<br />

include but are not limited to profane, foul,<br />

or disrespectful language (abbreviated<br />

or alluding to), pictures, suggestive poses,<br />

clothing, references to alcohol, drugs,<br />

and/or tobacco, and postings (either text<br />

or photos) that could be interpreted as being<br />

negative or threatening toward other<br />

LISD teaching staff or band members, or<br />

that demonstrate poor sportsmanship or a<br />

22 | TENNESSEE MUSICIAN | 2016 | <strong>Vol</strong>ume <strong>69</strong>, <strong>No</strong>. 1

disrespectful attitude toward other bands. Any such incident will<br />

result in review by the principal (or designee) and may lead to probation<br />

or dismissal from the band.<br />

The policy includes consequences for sequential violations, the<br />

third of which results in the student’s removal from the program.<br />

With the rapid evolution in technology, the tools discussed here<br />

will quickly become obsolete. However, the guiding principles behind<br />

the suggestions and policies will always transcend the technology<br />

being used and underscore the privilege and responsibility<br />

that comes with this most important profession.<br />

GO WHERE<br />



References<br />

1. Kevin McNamara. “Music Law: Crimes, Cash, and Copyright.” School Band &<br />

Orchestra, April 4, 2013. (www.tmea.org/smlink/SBO2013)<br />

2. “Teens and Technology 2013.” Pew Research Center, Pew Internet and<br />

American Life Project. March 13, 2013. Retrieved May 20, 2013 (www.tmea.<br />

org/smlink/TeensTech2013)<br />

3. “Teens 2012: Truth, Trends, and Myths about Teen Online Behavior.” Pew<br />

Research Center, Pew Internet and American Life Project. Retrieved May<br />

20, 2013 (www.tmea.org/smlink/Teens2012)<br />

4. Mike Simpson. “Social Networking Nightmares.” Tomorrow’s Teachers,<br />

2010. National Education Association.<br />

(www.tmea.org/smlink/NEA2010)<br />

5. Paul Tapp. “A prescription for educator behavior.” ATPE News. Spring 2011.<br />

(www.tmea.org/smlink/ATPE2011)<br />

Other Resources<br />

Texas Educator Code of Ethics in Texas Administrative Code, Rule 247.2.<br />

Retrieved May 20, 2013 (www.tmea.org/smlink/CodeofEthics)<br />

Lori Jaross. “Is Facebook an educator’s friend or foe?” ATPE News. Spring<br />

2010. (www.tmea.org/smlink/ATPE2010)<br />

TASB Legal Services. “School District Employees and Electronic Media.”<br />

Retrieved May 20, 2013 (www.tmea.org/smlink/TASB2010)<br />

Karen Cross is Communications Manager with Texas Music Educators Association.<br />

Belmont’s School of Music provides training and mentorship<br />

to aspiring musicians from across the country so that they can<br />

use their gifts to engage and transform the world. Learn how<br />

you can join the next class of rising stars and see our event<br />

calendar at belmont.edu/music.<br />


11.12.16 • 1.14.17 • 1.28.17 • 2.11.17 • 3.18.17<br />

(Admission Only)<br />

Reprinted from the Southwestern <strong>Musician</strong> with permission from Texas Music<br />

Educators Association.<br />


11.12.16 • 1.20.17 • 2.17.17 • 2.24.17<br />

Tennessee Music Education Assocation | www.tnmea.org | 23

24 | TENNESSEE MUSICIAN | 2016 | <strong>Vol</strong>ume <strong>69</strong>, <strong>No</strong>. 1


by Linzie Mullins<br />

We are pleased to announce that there will be a<br />

Saturday session geared toward general music<br />

education, and we hope that you will attend.<br />

GREETINGS! My name is Linzie<br />

Mullins, and I am honored to serve<br />

as the TMEA General Music State<br />

Chair. Humbled by this opportunity,<br />

I would like to thank our President, Dr.<br />

Johnathan Vest, for trusting me to hold<br />

this position. I currently reside in Memphis,<br />

and also serve as the WTGMEA president.<br />

My husband and I are both music<br />

teachers, we actually met at Orff Level 1<br />

here in Memphis!<br />

As I write this article, I am reflecting<br />

on my past years of teaching. I know with<br />

absolute certainty that I would not be<br />

the educator I am without the wonderful<br />

resources given to me by attending conferences<br />

such as the TMEA Conference.<br />

We have heard responses from general<br />

music educators that the conference falls<br />

too close to testing week or it is asking<br />

you to take off too many days of work. We<br />

hear you! And this year, we are pleased to<br />

announce that there will be a Saturday<br />

session geared toward general music education,<br />

and we hope that you will attend. I<br />

challenge you to come and attend the conference,<br />

and if you cannot attend the whole<br />

conference, attend on Friday and Saturday,<br />

the two days we are really working on gearing<br />

towards your needs. Have any ideas you<br />

would like to share? I strongly encourage<br />

you to present a session and share your<br />

ideas with other teachers in Tennessee.<br />

As I stated before, professional development<br />

opportunities have really shaped me<br />

into the educator that I am. I would love to<br />

share the workshops you have in your area<br />

with other teachers across the state. Please<br />

share any professional developments you<br />

have scheduled with me, and I will post<br />

them to our Tennessee General Music Education<br />

Association Facebook page.<br />

Lastly, I would like to share with you an<br />

idea you may want to incorporate you’re<br />

your music classroom this year. Over the<br />

past couple of years I have tried to incorporate<br />

more technology in my classroom, and<br />

by talking with colleagues and researching,<br />

I stumbled upon augmented reality. For<br />

those who do not know what augmented<br />

reality, or AR is, it is a computer-generated<br />

image superimposed on an object while being<br />

viewed through a tablet, smartphone,<br />

laptop, etc. There are many apps that can<br />

generate AR videos or graphics for you,<br />

but the one that I use is Aurasma. When<br />

you have the application open and scan a<br />

picture, document, or object that has an<br />

AR tag, a new graphic will appear. You can<br />

upload videos of your students dancing,<br />

singing, playing, or even presenting a project.<br />

You can even then show other students<br />

their peers’ performances in a new and exciting<br />

way.<br />

When I learned about augmented reality<br />

I immediately had to find a way to implement<br />

it in my classroom. I wanted parents<br />

to be able to see what their students were<br />

doing in my classroom, so I would post pictures<br />

in the hallway with instructions on<br />

how to download the app and get the link<br />

to my private Aurasma videos. They would<br />

then be able to use the camera on the app,<br />

place the camera over the picture, and a<br />

video would appear. I would put videos<br />

of the students performing dances, singing<br />

songs, or playing instruments on each<br />

of the items hanging on the wall. When I<br />

showed the students for the first time, they<br />

were so excited that they invited their parents<br />

to the “Hall of Fame” to watch the videos<br />

of the students’ performances. This not<br />

only gave my classroom more attention, it<br />

gave the students a chance to show their<br />

parents, friends, relatives, etc. what they<br />

had learned in my classroom without having<br />

a physical music program.<br />

I also found a great way to use AR with<br />

the older students when I did a composer<br />

study unit. The students were in groups of<br />

two or three and created online posters of<br />

a composer. We printed these posters, and<br />

the students presented it to the class. I videoed<br />

their presentation, and used AR to put<br />

the video on their poster. So, in the hallway,<br />

the posters looked amazing! But, the most<br />

amazing part was giving other students<br />

the opportunity to watch their peers present<br />

the material using this technology. The<br />

students now ask if their performances can<br />

be put in the Hall of Fame, and I am able to<br />

say, “Yes!” and have it there by the end of<br />

the school day.<br />

I hope that you are able to find a way to<br />

use augmented reality in your classroom.<br />

And, I am looking forward to meeting you<br />

all at the TMEA Professional Development<br />

Conference, and also learning from you in<br />

your sessions.<br />

Resources:<br />

• Link to “Teaching with Aurasma” Video https://<br />

www.youtube.com/watch?v=uHIxYpBW7sc<br />

• Link to TED Talk by Matt Mills on Augmented<br />

Reality Video<br />

https://www.youtube.com/watch?v=frrZbq2LpwI<br />

Tennessee Music Education Assocation | www.tnmea.org | 25


by W. Fitzgerald Patton<br />

I<br />


to change and inspire the lives of our students each and every<br />

day we are in the classroom. As state choral chair, my job is to<br />

keep you informed on issues relevant to choral music education<br />

so that teachers across this great state can continue fulfilling their<br />

purpose. I am privileged to help strengthen music education in<br />

our state through serving choral directors across the regions.<br />

Having a unified audition process<br />

will make the process throughout the<br />

state more fair. In addition this uniform<br />

approach will better ensure that the<br />

top students are placed in each choir<br />

because the process a student would<br />

go through to get in a mid-state or allstate<br />

chorus would be the same.<br />

Before I introduce myself, let me take a moment to thank Jan<br />

Johnson, our previous state choral chair, for all of her hard work.<br />

Her dedication to serving choral directors is most appreciated. I<br />

am Gerald Patton, choral director and fine arts chair at Blackman<br />

High School in Murfreesboro, Tennessee. I have taught elementary<br />

general music, high school chorus, general music and music<br />

theory. I have nearly 20 years of experience in music education. I<br />

have served on the MTVA board for eight years as freshman honor<br />

choir chair. I am the founding organizer of the Rutherford County<br />

High School Choral Festival which has been in existence since<br />

2006. I am also the artistic director for the Wilson County Civic<br />

League Summer Arts Academy, a non-profit organization, located<br />

in my hometown of Lebanon, Tennessee. Finally, I am a church<br />

musician and worship leader at the Lebanon Cumberland Presbyterian<br />

Church.<br />

This is my first year on the state board, and I am honored to<br />

serve in this capacity. The board met in early June to discuss many<br />

issues for the upcoming school year. Most of our discussion centered<br />

on our next TMEA conference in Nashville, Tennessee April<br />

5 - 8, 2017. There were several hot topics, but the one that I believe<br />

most of you are concerned about is this year’s all-state choral performance<br />

venue. I can assure you, a lot of work has been devoted<br />

to making sure our students have the best experience at all-state.<br />

With that being said, we will not be at “the barn” again. Ron Meers,<br />

TMEA executive director, is working tirelessly to ensure that we<br />

have the performances at the presidential ballroom. But in order<br />

for TMEA to acquire this space, we need ALL music directors<br />

(band, orchestra, and choral) to stay at the Opryland Hotel. More<br />

specifically, if we can book 800 rooms, then we are almost guaranteed<br />

the ability to have the presidential ballroom for our all-state<br />

performances. Directors, please help us and encourage your colleagues<br />

to stay at the Opryland Hotel for our 2017 conference.<br />

Other issues that were discussed included uniform audition<br />

standards across the regions, transgender equality, diversity in<br />

the NAfME and TMEA leadership, general assembly, conference<br />

rooming coordinator, and new state music standards. Some of<br />

these topics generated a great deal of discussion. With others<br />

there was less discussion because of the need to do more research<br />

and follow up.<br />

Regarding, the transgender policy, the TMEA board will have<br />

much more discussion before we elect to give an official recommendation,<br />

but our main point is that students who are transgender<br />

are not excluded in participating in music performances.<br />

There is still a lot of dialogue that needs to happen, and I welcome<br />

your feedback. But the bottom line is this; make sure all students<br />

are included in your performances and make necessary accommodations<br />

within reason so these students are not singled out.<br />

Being African American, I am very fortunate to have attained<br />

the successes I have had in my career, but I owe my success to the<br />

teachers who inspired me and to my parents. I am on the state<br />

board because I had a fellow colleague in my county recommend<br />

me because she believed in me and knew that I possessed leadership<br />

skills that would help further music education in our state.<br />

Both NAfME and TMEA desire to have more African American<br />

26 | TENNESSEE MUSICIAN | 2016 | <strong>Vol</strong>ume <strong>69</strong>, <strong>No</strong>. 1

directors in leadership positions on both<br />

the state and national level. One of the<br />

things I would like to see occur is a mentoring<br />

program for minority teachers in each<br />

region. I will talk with the regional presidents<br />

to advocate for a mentoring program<br />

that can be put into place to help us have a<br />

more diversified state and national board.<br />

Each year at the TMEA conference we<br />

have our opening general assembly. You are<br />

probably aware that the format of our general<br />

assembly changes from year to year.<br />

We want all music teachers to come to this<br />

assembly, but there has been discussion on<br />

moving the assembly to Saturday morning.<br />

The rationale is that professional development<br />

sessions could be offered that are<br />

geared toward middle school general music<br />

and choral directors. Also, moving the<br />

general assembly to Saturday would solve<br />

transportation issues for the <strong>TN</strong> Treble<br />

Choir that performs during the session.<br />

There are three more important topics<br />

to address before I close. The first is a uniform<br />

audition process for mid-state and<br />

all-state chorus. Right now, each region<br />

in Tennessee (West, Middle, East) has its<br />

own process for judging, scoring, and having<br />

auditions. For instance, some regions<br />

have blind auditions, and other regions<br />

do not. Having a unified audition process<br />

will make the process throughout the state<br />

more fair. In addition this uniform approach<br />

will better ensure that the top students<br />

are placed in each choir because the<br />

process a student would go through to get<br />

in a mid-state or all-state chorus would be<br />

the same. This possibility of uniformity is<br />

in the early stages. I have more research to<br />

do, and I need to have numerous conversations<br />

with each region before any new procedures<br />

go into place.<br />

Once students have auditioned, many<br />

directors book their hotel rooms. I just<br />

want to remind you that the hotel block<br />

will not open until February 1st. Also, I<br />

strongly encourage directors to stay at the<br />

Opryland Hotel so that our association can<br />

get the presidential ballroom. One way we<br />

would like to encourage directors to stay at<br />

Opryland is to have a rooming coordinator<br />

for each region. A lot of times many schools<br />

only have one or two in all-state. If this is<br />

the case, the hotel room is much higher. If<br />

we can match directors in the same region<br />

with other directors, then we could room<br />

share and cut down on cost. Let’s be honest,<br />

the directors that do not stay at the<br />

conference hotel don’t because of expense.<br />

I want to help with this. More information<br />

will be coming to directors about this later.<br />

Finally, our music standards have not<br />

been revised in many, many years. A revision<br />

is being done. The standards that most<br />

of us know and have taught for quite a while<br />

-- sing, play, listen, improvise, etc. will be<br />

complimented with new foundations like<br />

relate, select, develop, interpret. This is all<br />

in an effort to clean up our standards and<br />

give music educators more specifics in<br />

teaching the standards to our children.<br />

Thank you for reading my column. I want<br />

you to know that I am available to you if<br />

you have questions, concerns, suggestions,<br />

and comments. I have a lot to learn in transitioning<br />

to this position, but I can assure<br />

you that I will do my very best to keep you<br />

informed and help in any way. Let me know<br />

things you’d like to see at our conference.<br />

Also, know it’s not too early to be thinking<br />

about applying to present a session at our<br />

conference. Again, the date of the 2017<br />

TMEA Conference is April 5 – 8. Other important<br />

dates include the National ACDA<br />

Conference is March 8 -11, 2017 in Minneapolis,<br />

MN. Mark these dates on your calendar.<br />

Thank you for your time, and I wish<br />

you a very successful school year!<br />

Tennessee Music Education Assocation | www.tnmea.org | 27


by Michelle Clupper<br />

One of things that I truly believe will<br />

have a benefit statewide is to ensure<br />

that all of our orchestra directors have<br />

a mentor, whether they are new to the<br />

profession or just the region.<br />


Those are the words that changed my<br />

teaching career and one could say, my life.<br />

In the spring of 2010, I was asked by my<br />

then principal if I could teach orchestra<br />

due to a series of unfortunate staff reductions<br />

at our school. My response? “Am I<br />

certified, or can I?” He told me that he had<br />

complete faith in my ability to actually<br />

teach the class. Truthfully, I wasn’t so sure.<br />

So many questions swirled around in my<br />

head. Would the kids dismiss me because<br />

I’m a wind player? Would I shortchange<br />

them due to the fact that I’m a band person?<br />

The answer to both of those questions<br />

of course turned out to be no. My orchestra<br />

students were kind, helpful and funny. I<br />

learned as they learned and I even stopped<br />

saying things like “get your horns up”!<br />

So much has changed for me over the<br />

years but one thing has stayed the same: I<br />

love to go into the classroom every day and<br />

work with young people. I am privileged<br />

to be in my seventeenth year of teaching,<br />

fourteen of which have been at Farragut<br />

High School in Knoxville. At Farragut, I<br />

currently serve as the orchestra director,<br />

the assistant band director and also teach<br />

AP music theory and history of rock.<br />

I have come to truly understand the importance<br />

of having a mentor as an educator.<br />

I was lucky enough as a young teacher<br />

to start my career under the guidance of<br />

veteran teachers, like Mark Connell and<br />

Ron Rogers that cared about my success or<br />

failure as a band director. They wanted my<br />

students to have a good experience in band and they knew that meant that I needed to<br />

know my craft. By 2010, people had stopped referring to me as a new teacher. I began to<br />

think that I no longer need a mentor, and then suddenly found myself as a “new” teacher<br />

once again. When I found out that I would be teaching orchestra, I quickly called on<br />

veteran teachers around me and found an educational support system in the directors<br />

in my region. Katie Middleton, Peggy Jones, Gary Wilkes and many others have been my<br />

sounding board for concert literature and answered more questions than you can possibly<br />

imagine. Without their willingness to help a “new” teacher, where would I be? <strong>No</strong>w that<br />

I am a few years down the road, I feel much more comfortable choosing literature and<br />

discussing technique with my students but that is due in large part to the mentorship of<br />

the teachers around me.<br />

As a veteran music educator, I feel like it is so easy to get wrapped up in our day-to-day<br />

tasks and forget that newer directors might be floundering and need guidance in those same<br />

tasks. I also once believed that if someone needed my help or expertise, they would contact<br />

me and ask. I now know that is not always the case. Sometimes you either don’t know whom<br />

to call or you are afraid that someone might see your questions as a sign of incompetence.<br />

One of things that I truly believe will have a benefit statewide is to ensure that all of our<br />

orchestra directors have a mentor, whether they are new to the profession or just the region.<br />

One of my favorite moments of the 2016 TMEA Conference was attending the orchestra<br />

caucus where I had the pleasure of meeting many of the other directors from across<br />

the state. There was so much wonderful advice given, positive ideas shared and encouragement<br />

offered that I suddenly felt like part of a much larger community. The most interesting<br />

concept that I took away from the meeting was the idea of strengthening our<br />

connections across the state. We decided to look into assembling a state-wide directory<br />

of orchestra teachers that would be compiled from the regional association membership<br />

lists. In my opinion, this is a very exciting prospect and something that I would find extremely<br />

beneficial.<br />

In closing, I would encourage each and every one of you to be an active voice in your<br />

school, district, region and state. We are so lucky to have incredible teachers with a diverse<br />

set of skills and strengths and we should be our own best advocate. If you have a<br />

successful teaching strategy that you would like to share, please apply to present a session<br />

at TMEA and share your knowledge for the benefit of your colleagues around the state.<br />

I would also encourage all of you who are on Facebook to visit the group “Tennessee Orchestra<br />

Directors” which is a forum for topics related to orchestra programs across the<br />

state. If you have ideas that you would like to share or ways that I can help you or your<br />

program, please do not hesitate to contact me.<br />

28 | TENNESSEE MUSICIAN | 2016 | <strong>Vol</strong>ume <strong>69</strong>, <strong>No</strong>. 1

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Tennessee Music Education Assocation | www.tnmea.org | 29


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30 | TENNESSEE MUSICIAN | 2016 | <strong>Vol</strong>ume <strong>69</strong>, <strong>No</strong>. 1<br />

Connect with UT Bands


by David Chipman<br />

HELLO COLLEAGUES! I hope your<br />

school year continues to be a meaningful<br />

time of learning and achievement<br />

for your students. To our<br />

teachers in their first year or new to our<br />

state: At any time during the year, please<br />

do not hesitate to contact an experienced<br />

director for help. Our state is blessed with<br />

some of the finest music educators in the<br />

country who would be willing to assist.<br />

Please remember that the best teachers are<br />

those who keep an open mind and always<br />

continue to learn.<br />

On a personal note, I would like to thank<br />

Dr. Jonathan Vest for asking me to serve as<br />

your <strong>TN</strong> State Band Chair. Special thanks<br />

to Debbie Burton for her exceptional service<br />

and dedication to our band programs<br />

and students across Tennessee. I sincerely<br />

appreciate the support, help and encouragement<br />

she has given me over the past<br />

few months.<br />

The 2016 State Concert Festival was a<br />

great success! Thirty bands were scheduled<br />

to perform. Thank you to Greg Wolynec,<br />

John Schnettler, Eric Branscome, and the<br />

students at Austin Peay State University for<br />

being such wonderful hosts.<br />

The 2017 State Concert Festival will be<br />

hosted again by Austin Peay State University.<br />

The confirmed dates are April 27 and 28.<br />

Two motions were passed at the TMEA<br />

Jazz Caucus in April 2016.<br />

1. In the event that a student with a visual<br />

impairment auditions for TMEA all state<br />

jazz band: All students will sight read,<br />

however sight reading scores will be disregarded<br />

from the final tally of that specific<br />

instrument.<br />

2. BOTH Blues in F (2 choruses) and<br />

Rhythm changes in Bb (1 chorus) will<br />

be used for improvisation during the<br />

TMEA all state jazz audition.<br />

The specific rhythm section recordings<br />

used for the improvisation will be:<br />

a. Blues in F, Jamey Aebersold, vol. 42,<br />

track 6<br />

b. Rhythm changes in Bb, Jamey Aebersold,<br />

vol. 47, track 1<br />

Our 2017 All State Band Conductors will be:<br />

• Paula Crider, University of Texas Director<br />

of Bands Emeritus, will conduct<br />

the 11-12 All State Band.<br />

• Richard Saucedo, retired Director of<br />

Bands from Carmel High School in Indiana,<br />

will conduct the 9-10 All State Band.<br />

The best teachers<br />

are those who<br />

keep an open<br />

mind and always<br />

continue to learn.<br />

My best hopes to you, your students and<br />

parents for continued success through the<br />

school year. Please feel free to contact me<br />

at any time if you have questions or concerns.<br />

It is my honor to serve TMEA.<br />

I’ll close with a favorite quote from Helen<br />

Keller: “One can never consent to creep<br />

when one feels an impulse to soar”. That’s<br />

why we teach, so our students can soar!<br />

Tennessee Music Education Assocation | www.tnmea.org | 31


by Ryan Fisher, Ph. D.<br />

University departments<br />

of music will need to be<br />

prepared for a possible influx<br />

of transferring students from<br />

community colleges in fall<br />

2017. Partnerships with local<br />

community college music<br />

programs may be warranted<br />

to ensure a smoother<br />

transition into four-year<br />

university music programs.<br />


a university campus on the first week of classes. The new<br />

freshmen have a look of amazement as they wander around<br />

the campus seeking the location of their next class. Even the returning<br />

students have budgeted time in their morning routine to<br />

groom and actually show up to class on time. As the new TMEA<br />

State Higher Education Chair, I feel a bit like our incoming freshmen<br />

as I “learn the ropes” of this new job. Unlike our returning<br />

students who eventually reduce the time spent grooming and return<br />

to their evil ways of skipping class, I promise to approach this<br />

job properly groomed and dedicated to “showing up” every day in<br />

order to serve this incredible organization. I would like to congratulate<br />

and applaud our past higher education chair, Dr. Eric<br />

Branscome, for his distinguished service over the past two years.<br />

He expertly organized and executed the highly successful 2016<br />

TMEA Intercollegiate Band at last year’s state conference, and<br />

provided a thorough blueprint for me to follow during my tenure<br />

in this position.<br />

The 2017 TMEA conference will feature the Intercollegiate<br />

Orchestra. We are excited that Jeffrey Grogan, Education and<br />

Community Engagement Conductor of the New Jersey Symphony<br />

Orchestra, has agreed to serve as our guest conductor this year. I<br />

would like to invite all university programs with string students to<br />

make plans (February 5-6, 2017) to submit your talented students<br />

in order to ensure the ensemble is successful this year.<br />

I would also like to encourage directors of small ensembles or<br />

chamber ensembles to consider applying to perform at the 2017<br />

TMEA Professional Development Conference, February 6-8. Various<br />

groups will be selected to perform in the exhibit hall or at other<br />

locations throughout the conference hall. This is a wonderful<br />

opportunity for non-traditional ensembles and chamber groups<br />

to feature their school’s music program to fellow music educators<br />

from across the state. The application for these conference performance<br />

opportunities will be available on our website very soon.<br />

32 | TENNESSEE MUSICIAN | 2016 | <strong>Vol</strong>ume <strong>69</strong>, <strong>No</strong>. 1

In addition to coordinating various events for the TMEA conference,<br />

I also hope to keep our higher education colleagues<br />

abreast of current trends in music teacher training that directly<br />

impact our Tennessee students. One issue that was discussed at<br />

the last TMEA Higher Education Caucus was the possible impact<br />

of the Tennessee Promise. As most of you are aware, <strong>TN</strong> Promise<br />

provides Tennessee students with a scholarship to cover tuition<br />

and fees not covered by Pell grants, HOPE scholarship, or other<br />

state student assistance funds if they attend a <strong>TN</strong> community college<br />

or applied technology college. Because some students may<br />

wish to complete two years of college for free and then transfer to<br />

a four-year college/university, university music programs will be<br />

forced to develop a plan for these transferring students seeking<br />

a music education degree. Few community colleges in Tennessee<br />

offer rigorous music programs, so it is not clear how students<br />

transferring from community colleges will be able to complete licensure<br />

requirements in two years, especially since most Teacher<br />

Education Programs in <strong>TN</strong> require a one-year residency (student<br />

teaching). University departments of music will need to be prepared<br />

for a possible influx of transferring students from community<br />

colleges in fall 2017. Partnerships with local community<br />

college music programs may be warranted to ensure a smoother<br />

transition into four-year university music programs.<br />

Music teacher training programs are also becoming better acquainted<br />

with the edTPA, a subject-specific assessment in which<br />

teacher candidates must demonstrate their teacher effectiveness<br />

through three tasks: planning, instruction, and assessment.<br />

The edTPA is scored by external reviewers within the discipline<br />

through Pearson. Currently, ten Tennessee universities use the<br />

edTPA to meet the state performance assessment requirement;<br />

however, Tennessee does not require the edTPA for licensure and<br />

has not established a passing score. Because of this, each university<br />

education program is establishing its own passing score and<br />

some are not allowing teacher candidates who do not meet the<br />

passing score to graduate or process their licensure application<br />

to the state. Though rumor has it the state will soon add the edT-<br />

PA as a licensure requirement, a recent search of their website<br />

produced no mention of edTPA. As a side note, the edTPA costs<br />

each teacher candidate $300, is completed in their final semester<br />

of residency, and requires students to devote well over 60 hours to<br />

develop their materials for a successful submission.<br />

Music teacher trainers and music education students may also be<br />

delighted to discover the <strong>TN</strong> Department of Education recently adjusted<br />

the qualifying score on the ACT required for acceptance into<br />

a teacher education program. They now accept a composite ACT<br />

score of 21 or above (SAT 1020), or students would need to pass the<br />

Praxis I Core Academic Skills for Educators exam. To date, no plans<br />

have been made to lower the passing score on the Praxis II: Music<br />

Content and Instruction exam despite low pass rates.<br />

Despite the many challenges related to music teacher licensure,<br />

I am still inspired and encouraged by our music education students.<br />

Their passion for music and children reassure me that the<br />

future of music education in Tennessee is in good hands. I wish<br />

you all a wonderful semester as you impart knowledge and confidence<br />

into our future music teachers.<br />

Tennessee Music Education Assocation | www.tnmea.org | 33


by Jennifer Vannatta-Hall, Ed. D.<br />

THERE IS EXCITEMENT IN THE AIR! Whether you are a<br />

first-semester freshman or a fifth- or sixth-year senior, I<br />

welcome you to become involved with TMEA. I am enthusiastically<br />

stepping into the roll as your TMEA Collegiate<br />

Chair, a position I am slated to hold for the next two years.<br />

I have had the pleasure of teaching college students since 2004.<br />

Reflecting back on my own college experience and advising countless<br />

pre-service music educators, I would like to offer some advice<br />

on finding balance and getting the most from your college years.<br />

College provides a sustained opportunity for independence, and<br />

with that independence brings challenges to time management.<br />

Strive to balance your time so that you can excel academically,<br />

maintain your personal and work responsibilities, and experience<br />

what college life can offer.<br />

Manage your time.<br />

The life of a music education student is super busy! Time management<br />

plays a key role in maintaining life balance and avoiding<br />

stress. Proactively develop a system for scheduling your time and<br />

avoiding procrastination. Schedule time for eating, attending<br />

class, working, studying, practicing and socializing – as well as<br />

planning time just for you. Then be sure to have a system for keeping<br />

up with your schedule and appointments to stay organized.<br />

All of your courses are<br />

designed to prepare you<br />

to be a competent and<br />

confident music teacher.<br />

In the state of <strong>TN</strong>, you are<br />

required to take and pass<br />

the Praxis Music Content<br />

Knowledge test to become<br />

a licensed music teacher.<br />

Know your degree requirements.<br />

Become familiar with your course requirements for graduating<br />

with the music education degree. Often, the course requirements<br />

are specified by semester or year. This helps keep you on track to<br />

graduate in four years. Students sometimes get to their senior year<br />

and realize they have missed a graduation requirement. Following<br />

your degree plan and meeting regularly with your advisor can help<br />

you avoid problems.<br />

Meet with your advisor.<br />

Music education is a demanding degree and sometimes involves<br />

complicated intricacies with course requirements, ensembles<br />

and education courses. To stay abreast of degree requirements<br />

and schedule and policy changes, it is so important for you to<br />

meet with your advisor at least once per semester. Be proactive in<br />

knowing who your academic advisor is, and be sure to introduce<br />

yourself early in your college career.<br />

Study smart.<br />

Determine a productive area to study. Your dorm room or apartment<br />

may not be the best place to study. Check out campus spaces<br />

that are dedicated to studying. Most campuses have a variety<br />

of student lounges and designated quiet areas. Develop efficient<br />

study habits, and then adjust your schedule accordingly to allow<br />

sufficient time to complete homework and prepare for exams.<br />

Keep your course materials.<br />

All of your courses are designed to prepare you to be a competent<br />

and confident music teacher. In the state of <strong>TN</strong>, you are<br />

required to take and pass the Praxis Music Content Knowledge<br />

34 | TENNESSEE MUSICIAN | 2016 | <strong>Vol</strong>ume <strong>69</strong>, <strong>No</strong>. 1

test to become a licensed music teacher. This test assesses your<br />

knowledge of music history, theory, technology, and instrumental<br />

and choral methods. You never know what your first teaching<br />

job will be. Therefore, it’s wise to save your course materials<br />

and music-related textbooks. Take notes in each of your classes<br />

and save them for future reference. Reviewing course materials<br />

are extremely helpful when preparing for the Praxis and provide<br />

a wealth of ideas and information for your first year as a music<br />

teacher.<br />

Let things roll off.<br />

To quote author Richard Carlson (1997), “Don’t sweat the small<br />

stuff.” It’s easier said than done, but learn to let things go once in<br />

a while. Insults, criticisms, setbacks – let them all go. So what if<br />

your clothes do not get cleaned every week or that you miss a social<br />

event. Learn to recognize the things that are not absolute necessities,<br />

then don’t beat yourself up for letting them go.<br />

Ask for help.<br />

College provides access to countless resources. You can consult<br />

professors, advisors, tutoring centers, health clinic, counseling<br />

center, and more for assistance. Don’t be afraid or embarrassed to<br />

ask for help. We all need help at times, and that’s why colleges have<br />

these resources available to you.<br />

Set priorities.<br />

There is lots of research regarding the benefits of goal setting.<br />

We sometimes allow ourselves to feel overwhelmed rather than<br />

taking charge and developing a prioritized list of things that need<br />

to get done. Set goals and develop a to-do list. There is satisfaction<br />

in crossing things off your list.<br />

College is an exciting time in your life, but it can also be challenging<br />

and overwhelming. College requires independence, passion,<br />

organization and dedication. Make the most of your college<br />

experience by striving for and achieving balance.<br />

Carlson, R. (1997) Don’t sweat the small stuff and it’s all small<br />

stuff: Simple ways to keep the little things from taking over your<br />

life. New York: Hyperion.<br />



In addition to fulfilling degree requirements for graduation,<br />

music teacher candidates must also currently take and pass two<br />

Praxis assessments: (a) Principles of Learning and Teaching; and<br />

(b) Music Content Knowledge to become K-12 licensed music<br />

teachers in <strong>TN</strong>. There is a proposed policy going before the <strong>TN</strong><br />

State Board of Education on October 14, 2016 in which licensure<br />

requirements could change.<br />

The <strong>TN</strong> State Board of Education met on July 22, 2016 for a<br />

first reading of “Professional Assessments Policy 5.105.” This<br />

item recommends the adoption of a new required assessment of<br />

pedagogy and pedagogical content knowledge—the edTPA—for all<br />

initial licensure candidates by January 2019. The proposed policy<br />

requires all candidates for licensure to submit qualifying scores<br />

on the edTPA. The Department of Education recommended acceptance<br />

of this item on first reading. The <strong>TN</strong> State Board of Education<br />

staff concurred with this recommendation.<br />

The Education Teacher Performance Assessment, or edTPA, is<br />

a nationally-available, subject-specific performance assessment<br />

that focuses on student learning and principles from research<br />

and theory. The edTPA is designed to be educative for candidates,<br />

preparation programs and policy makers. Eight Educator Preparation<br />

Providers have implemented the edTPA, including Austin<br />

Peay State University, East <strong>TN</strong> State University, Middle <strong>TN</strong> State<br />

University, <strong>TN</strong> State University, <strong>TN</strong> Tech University, the University<br />

of Memphis, the University of <strong>TN</strong>, Knoxville, and Vanderbilt<br />

University.<br />

The Teacher Preparation and Licensure Subcommittee of the<br />

State Board of Education met on August 12, 2016 for a second<br />

reading of “Professional Assessments Policy 5.105.” Much of<br />

the discussion centered on some challenges to implementation,<br />

such as the timeline for implementation, the significant time required<br />

for teacher candidates to complete the assessment, the cost<br />

($300), and faculty training.

Compe<br />

Your Future<br />

Performance, Education,<br />

Jazz Studies<br />

● Bachelor of Music in<br />

Music Education<br />

(Five-year program)<br />

● Bachelor of Music in<br />

Performance<br />

(Four-year program)<br />

● Bachelor of Music in<br />

Jazz Studies<br />

(Four-year program)<br />

Complete information<br />

can be found on the<br />

ETSU Department of<br />

Music website under<br />

“Degree Programs.”<br />

www.etsu.edu/music<br />

Department of Music<br />

Department of Music<br />

PO Box 70661<br />

Johnson City, Tennessee 37614<br />

423-439-4276<br />

36 | TENNESSEE MUSICIAN | 2016 | <strong>Vol</strong>ume <strong>69</strong>, <strong>No</strong>. 1


by Lisa Leopold<br />

If teachers can begin to recognize the ubiquitous<br />

nature of technology in the music we listen to, I<br />

think we will begin to teach differently. Especially<br />

considering the musical heritage of our state, there<br />

is no excuse for students leaving our programs with<br />

no basic music technology skills.<br />

JUST FOR FUN, I googled “Tennessee music” to see what<br />

would come up. First, of course, is a Wikipedia entry telling us<br />

the legend of music in Tennessee as three stories: Nashville<br />

becoming Music City USA, Bristol as the birthplace of country<br />

music, and Memphis’ tremendous impact on blues, rock and<br />

roll, and soul. The second site was <strong>TN</strong>.gov and the newly proposed<br />

fine arts standards. I think this matters. I’ll save the specifics of<br />

how I think music technology can be used to help meet the new<br />

music standards for the next column, but for now I’d simply like<br />

to make the point that Tennessee’s rich music history is inextricably<br />

linked to music technology, and we can use this as a lesson<br />

to make our implementation of the new standards relevant to the<br />

real world.<br />

Technology first came into the music world with the development<br />

of recording in the late 1800’s. Before recording technology,<br />

the primary way people listened to music was by private piano<br />

performances, whether or not the music was intended for keyboard.<br />

What a huge cultural shift to be able to listen to music,<br />

as it was intended to be performed, from all over the world! The<br />

earliest settlers of Bristol brought instruments and began playing<br />

music that would eventually shape what we call Country Music,<br />

but it wasn’t until 1927, when Ralph Peer showed up with his<br />

portable electronic recording equipment, that this style of music<br />

became relevant outside of its context. The same story holds true<br />

for Memphis and Nashville. Great music was already happening,<br />

but recording it made it important. The recording industry isn’t<br />

just a passive player in the music game. Music isn’t only recorded,<br />

it is altered before we get to hear it. Every recording, whether a<br />

Symphony Orchestra or a Hip Hop album, has been engineered in<br />

some way, even if only by where the mics are placed and where the<br />

volume is set.<br />

If teachers can begin to recognize the ubiquitous nature of technology<br />

in the music we listen to, I think we will begin to teach differently.<br />

Especially considering the musical heritage of our state,<br />

there is no excuse for students leaving our programs with no basic<br />

music technology skills. So, as we begin another great school year,<br />

I encourage you to try something new. Depending on your context,<br />

that could mean almost anything! Take students to visit a Sun Studio,<br />

or the Country Music Hall of Fame. Bring in a local recording<br />

artist to speak, or visit a radio station. Go to your local music venue<br />

and watch the guy that runs the sound board, or better yet, ask<br />

that guy to come to your school and teach your students how to<br />

run your sound board. Record a band concert using a few different<br />

mics or cameras and see what you like and don’t like about each<br />

one. Then do the same for a choir concert and see if it changes.<br />

Let’s allow students to take a deep dive into what goes into creating<br />

music from beginning to end.<br />

The introduction to the proposed standards says, “Tennessee<br />

has made significant artistic contributions across the national<br />

landscape and Tennessee’s school teachers and leaders will undoubtedly<br />

play an important role in nurturing environments of<br />

creativity and innovation that will lead to even greater contributions.”<br />

We need great performers, and we also need great sound<br />

artists to make sure the performers are heard! Have a great school<br />

year, and as always, please contact me if you would like to talk<br />

about beginning or expanding your music technology offerings.<br />

Tennessee Music Education Assocation | www.tnmea.org | 37


by Jamila L. McWhirter, Ph. D.<br />

YOU MAY NOTICE that I am now<br />

serving in two capacities. Dr. William<br />

Lee has served TMEA as the<br />

Research Chair for many years.<br />

He has decided to no longer serve in that<br />

capacity. I am very grateful for his vision<br />

and service to TMEA. When I arrived in<br />

Tennessee twelve years ago, Bill was one<br />

of the first to make me feel right at home.<br />

We have had numerous discussions about<br />

music education research and how to improve<br />

music education research exposure<br />

in the state of Tennessee. I want to thank<br />

Bill for all he has established through this<br />

position. I am honored to follow his tenure.<br />

By the time you read this, Tennessee will<br />

have held its first <strong>TN</strong> SMTE Symposium<br />

on the campus of MTSU on September 17,<br />

2016. I look forward to sharing the events<br />

of the day with you in the next publication<br />

of the Tennessee <strong>Musician</strong>. At the time of<br />

printing, we are looking forward to a great<br />

day with Dr. Linda Thompson delivering<br />

the Keynote Address.<br />

Also, on the research side, I hope to<br />

have the proposal submission process for<br />

TMEA on the TMEA website in the near<br />

future. My goal is to have this available in<br />

plenty of time for juried proposal submissions<br />

for both those in and out of the state<br />

of Tennessee. In recent years, we have begun<br />

to see those from neighboring states<br />

participate in the TMEA Research Poster<br />

Session. I will do my best to see that this<br />

trend continues. Graduate research is always<br />

welcome. I am also currently investigating<br />

if it is a possibility to include a<br />

session for undergraduate research at the<br />

conference as well. I would like to see the<br />

addition of poster abstracts included both<br />

online, possibly on the TMEA app, and perhaps<br />

in print. My hope is to also see more<br />

research printed in the Tennessee <strong>Musician</strong>.<br />

More information on that process<br />

coming soon.<br />

I have found that many in our membership<br />

do not fully understand the two societies<br />

associated with NAfME. I would like<br />

to take a moment to clarify, so that we may<br />

possibly see more members who wish to<br />

become involved in SMTE and SRME.<br />

SMTE is the Society for Music Teacher<br />

Education. SRME is the Society for Research<br />

in Music Education. They share<br />

several common areas, but the purposes<br />

of each are different. SMTE has a primary<br />

focus of music teacher education. It is<br />

specifically designed for those who are<br />

currently teaching or interested in teaching<br />

future music teachers in other words,<br />

music teacher educators. SMTE is a working<br />

organization that is divided into areas<br />

of interest called Areas for Strategic Planning<br />

and Action (ASPAs), the purpose of<br />

these groups is to develop and implement<br />

action plans related to current critical issues<br />

in music teacher education. SMTE<br />

members identify with one or more ASPAs,<br />

contribute via the web-based discussion<br />

forums, and participate in ASPA projects.<br />

The national symposiums bring together<br />

those in higher education who teach future<br />

teachers, doctoral students who are pursuing<br />

degrees in music education, music<br />

education supervisors of both private and<br />

public school districts, and others who are<br />

concerned about matters concerning music<br />

teacher education.<br />

SRME is the Society for Research in Music<br />

Education. SRME seeks to encourage<br />

and improve the quality of scholarship and<br />

research within the music education profession.<br />

SRME consists of all subscribers<br />

of the Journal of Research in Music Education<br />

(JRME). Members are encouraged to<br />

participate in one or more Special Research<br />

Interest Group (SRIG). These SRIG subsets<br />

consist of numerous areas in music education.<br />

There are those related to music teacher<br />

education, but this is just a small portion<br />

of the research focus within SRME. The research<br />

interests are varied and broad. The<br />

type of research completed is very applicable<br />

to the ins and outs of everyday teaching.<br />

For example, answering the questions of<br />

which choral sight-reading method is the<br />

most successful and how much does conductor<br />

magnitude contribute to ensemble<br />

performance success? So although there is<br />

overlap between the two societies, there is a<br />

difference in focus and mission.<br />

Looking ahead, the next national SMTE<br />

Symposium will be held September 14 –<br />

16, 2017 on the campus of the University<br />

of <strong>No</strong>rth Carolina – Greensboro. I am very<br />

excited that a cherished friend and former<br />

Missouri colleague, Brett <strong>No</strong>lker will be<br />

the host. The call for proposals are due no<br />

later than April 17, 2017. Registration for<br />

the symposium will be available beginning<br />

June 1, 2017, with the early bird registration<br />

deadline of August 1, 2017.<br />

SMTE has also recently released a statement<br />

on high stakes evaluation in pre-service<br />

music teacher education. If you are a<br />

music teacher educator, serve as a mentor<br />

teacher to student teaching candidates or<br />

have concerns regarding pre-service teaching<br />

assessment tests such as the EdTPA<br />

and Praxis II, I encourage you to visit the<br />

SMTE website and read the position statement.<br />

It is located at www.smte.us.<br />

I am looking forward to a great year in<br />

music teacher education and music education<br />

research in the state of Tennessee.<br />

SMTE has also recently released a<br />

statement on high stakes evaluation<br />

in pre-service music teacher<br />

education. If you are a music teacher<br />

educator, serve as a mentor teacher<br />

to student teaching candidates or<br />

have concerns regarding pre-service<br />

teaching assessment tests such as<br />

the EdTPA and Praxis II, I encourage<br />

you to visit the SMTE website and<br />

read the position statement.<br />

38 | TENNESSEE MUSICIAN | 2016 | <strong>Vol</strong>ume <strong>69</strong>, <strong>No</strong>. 1

TENNESSEE MUSICIAN ADVERTISER INDEX | VOLUME <strong>69</strong>, <strong>No</strong>. 1<br />

A very special<br />

thank you to all<br />

of our advertisers<br />

who support the<br />

work of music<br />

educators at all<br />

levels in the State<br />

of Tennessee.<br />


Appalachian State University Hayes School of Music 9<br />

Belmont University 23<br />

Carson Newman College 3<br />

East Tennessee State University 36<br />

Lee University<br />

Inside Front Cover<br />

Middle Tennessee State University 5<br />

NAMM Foundation 11<br />

Slate Group<br />

Back Cover<br />

Smoky Mountain Music Festival 7<br />

Tennessee State University 18<br />

Union University 4<br />

University of Memphis 19<br />

University of Tennessee at Knoxville Bands 30<br />

University of Tennessee at Knoxville School of Music 24<br />

University of Tennessee at Martin<br />

Inside Back Cover<br />

Yamaha Corporation of America 29<br />

Tennessee Music Education Assocation | www.tnmea.org | 39


• A proposed amendment to the TMEA<br />

constitution was approved by all six<br />

divisional organizations which would<br />

automatically grant the Tennessee<br />

Department of Education Supervisor<br />

of Fine Arts a position as a voting board<br />

member of TMEA. William Graves was<br />

appointed to the position.<br />

• An article titled “Elementary Music: Its<br />

Implementation” was written by William<br />

Graves, who at the time served as the<br />

supervisor of fine arts for the Tennessee<br />

State Department of Education and was<br />

appointed to the TMEA Board of Directors<br />

in 1962. The article is fascinating, simply<br />

as a historical document that cited<br />

recommendations dating back as early<br />

as 1948 that “every school should have an<br />

organized program of art and music and<br />

should include these as integral parts of<br />

the regular school program.”<br />

• Concert cellist Martha McCrory was<br />

appointed as a director of the six-year<br />

old Sewanee Summer Music Center and<br />

as an assistant professor of music at the<br />

University of the South. McCrory was a<br />

graduate of the University of Michigan and<br />

the Eastman School of Music. McCrory<br />

served in this position until her retirement<br />

in 1998.<br />

• Vanderbilt University reported in a<br />

press release of the expansion of its<br />

band program. It was reported that the<br />

expansion was collaboration between<br />

Vanderbilt University, Peabody College,<br />

and Scarritt College. According to the press<br />

release, the marching band program had<br />

been struggling for years. In the fall of 1962<br />

they received new uniforms, instruments,<br />

and rehearsal facilities. The marching<br />

band was an all-male organization that<br />

numbered sixty members, with the hope<br />

to increase membership to 100 members<br />

in the next year. Henry Romersa was<br />

the newly appointed director of the band<br />

program with William Henry Clarke<br />

serving as the assistant director of bands.<br />

• MTSC Sponsors Marching Contest – On<br />

October 27, 1962 twenty-two high school<br />

bands from Tennessee, Georgia, and<br />

Alabama participated in the First Annual<br />

Open Competition Marching Contest.<br />

The contest was held at Middle Tennessee<br />

State College (now Middle Tennessee<br />

State University) and was sponsored<br />

by the college music department and<br />

directed by Joseph T. Smith, director of<br />

the MTSC “Band of Blue.” This contest<br />

would eventually become the Contest<br />

of Champions now in its 55th year.<br />

Chattanooga City High School Band under<br />

the direction of J.S. Tilson was named<br />

as the first place winner of this inaugural<br />

contest and Melville Kelly, director of<br />

Elizabethton High School Band was named<br />

as the second place winner.<br />


<strong>Vol</strong>ume 25, <strong>No</strong>. 4 – 16 pgs.<br />

O’Dell Willis, TMEA President<br />

Carolyn M. Scruggs, Editor<br />

40 | TENNESSEE MUSICIAN | 2016 | <strong>Vol</strong>ume <strong>69</strong>, <strong>No</strong>. 1

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