TN Musician Vol. 70 No. 4

The Official Publication of the Tennessee Music Education Association 

The Every Student 

Succeeds Act: 

Opportunities for 

Music Educator Action 

by Lynn M. Tuttle p. 12 

Tips on Maintaining 

Vocal Health 

by Sarah Seo p. 21 

Music for All 

by Debbie Montague p. 29 

VOLUME 70, NO. 4

MUSIC 

MUSIC WITH PURPOSE 

A Christ-centered university in southeast 

Tennessee with faculty, curriculum, facilities, 

and opportunities to prepare you for your 

goals as tomorrow’s musician. 

Audition Dates: 

NOV. | JAN. | FEB. | MAR. | APR. 

LEEUNIVERSITY.edu/music

TENNESSEE MUSICIAN EDITORIAL STAFF 

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Managing Editor and Advertising Manager 

Justin T. Scott 

Associate Editor 

Laura Boucher 

Associate Style Editor 

Jazmin Jordan 

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Contributing Editors 

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Doug Phillips 

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TABLE OF CONTENTS | 2018 | VOLUME 70, NO.4 

TMEA President’s Message 4 

Johnathan Vest, Ed. D. 

TMEA Conference Awards & President-Elect 5 

FEATURED ARTICLES 

The Every Student Succeeds Act: 

Opportunities for Music Educator Action 8 

by Lynn M. Tuttle 

Tips on Maintaining Vocal Health 16 

by Sarah Seo 

Music for All 23 

by Debbie Montague 

Tennessee Musician Advertiser Index 31 

TMEA Back Then 32 

All editorial materials should be sent to: Michael Chester, Managing 

Editor (615-873-0605) E-mail: editor@tnmea.org. 

Submit materials by e-mail in Microsoft Word format. 

Advertising: Information requests and ad orders should be 

directed to: Michael Chester, Managing Editor (615- 

873-0605) e-mail: editor@tnmea.org. All advertising 

information is on the TMEA web site, www.tnmea.org. 

Deadlines for advertisement orders and editorial materials: 

Issue No. 1 – Deadline: August 15 (in home delivery 

date October 15); Issue No. 2 – Deadline: October 15 (in 

home delivery date December 15); Issue No. 3 – Deadline: 

December 15 (in home delivery date March 15); 

Issue No. 4 – Deadline: February 15 (in home delivery 

date May 15) 

Tennessee Musician is copyrighted. Reproduction in 

any form is illegal without the express permission of 

the editor. 

Postmaster: Send address changes to: Tennessee Musician, 

c/o National Association for Music Education 

(NAfME), 1806 Robert Fulton Drive, Reston, VA 

20191-4348. 

The Tennessee Musician 

The Official Publication of the Tennessee Music Education Association 

The Tennessee Music Education Association (TMEA) was officially formed in 1945 as a voluntary, nonprofit 

organization representing all phases of music education at all school levels. The mission of TMEA 

is to promote the advancement of high quality music education for all. Active TMEA membership is 

open to all persons currently teaching music and others with a special interest or involvement in music 

education. Collegiate membership and retired memberships are available. Membership applications are 

available on the TMEA web site, www.tnmea.org. 

The Tennessee Musician was founded in 1948 with J. Clark Rhodes appointed by the TMEA Board of 

Control as inaugural editor. Tennessee Musician was preceded by an earlier publication, Tennessee 

Music Editors’ Downbeat, which was discontinued by the TMEA Board of Control at the spring board 

meeting, held in Chattanooga, Tennessee in 1948. Tennessee Musician is published by Slate Group – 

Lubbock, Texas and is mailed to members four times each year at an annual subscription rate of $6.00 

(included in dues). Non-member subscription rate (includes S&H): $30.00 per school year; single 

copies: $10.00 per issue 

Place non-member subscription and single copy orders at TMEA, 129 Paschal Drive, Murfreesboro, 

Tennessee 37128 or e-mail to editor@tnmea.org. 

All editorial materials should be sent to: Michael Chester, Editor-in-Chief (615-904-6771 ext. 31600) 

e-mail: editor@tnmea.org. Submit materials by e-mail in Microsoft Word format. 

Non-Profit 501(c)(3) Organization U.S. Postage Paid 

at Lubbock, Texas. ISSN Number 0400-3332; EIN 

number 20-3325550

TMEA BOARD AND COUNCIL 

TMEA OFFICERS 2017-2018 

TMEA EXECUTIVE DIRECTOR: 

Ron Meers 

execdirector@tnmea.org 

TMEA PRESIDENT: 


president@tnmea.org 

BOARD OF DIRECTORS 

TMEA STATE GENERAL MUSIC CHAIR: 

Linzie Mullins 

genmusicchair@tnmea.org 

TMEA STATE CHORAL CHAIR: 

Gerald Patton 

pattong@rcschools.net 

TMEA STATE ORCHESTRA CHAIR: 

Michelle Clupper 

michelle.clupper@knoxschools.org 

TMEA STATE BAND CHAIR: 

David Chipman 

banddir@bellsouth.net 

TMEA STATE HIGHER EDUCATION CHAIR: 

Ryan Fisher, Ph. D. 

rfisher3@memphis.edu 

TMEA COUNCIL 

WTGMEA PRESIDENT: 

Linzie Mullins 

genmusicchair@tnmea.org 

WTGMEA PRESIDENT-ELECT: 

Frances Miller 

fmiller@millingtonschools.org 

WTVMEA PRESIDENT: 

Lalania Vaughn 

lvaughn@rebelmail.net 

WTVMEA PRESIDENT-ELECT: 

Christopher Davis 

davischristophert@gmail.com 

WTSBOA PRESIDENT: 

Stephen Price 

prices@gcssd.org 

WTSBOA PRESIDENT-ELECT: 

Ollie Liddell 

ollie_liddell@hotmail.com 

MTGMEA PRESIDENT: 

Alexis Yatuzis-Derryberry 

derryberrya@rcschools.net 

MTGMEA PRESIDENT ELECT: 

Lia Holland 

liaholland@mtcscougars.net 

MTVA PRESIDENT: 

Michael Choate 

choatem@pcsstn.com 

TMEA PRESIDENT-ELECT: 

Lafe Cook 

pres-elect@tnmea.org 

2 | TENNESSEE MUSICIAN | 2017 | Volume 69, No. 2 

TMEA PAST-PRESIDENT: 

Jeff Phillips, Ed. D. 

jeffrey.phillips@sumnerschools.org 

TMEA STATE COLLEGIATE NAFME CHAIR: 

Jennifer Vannatta-Hall, Ed. D. 

jennifer.vannatta-hall@mtsu.edu 

TMEA STATE EDUCATIONAL TECHNOLOGY CHAIR: 

John Womack 

webmaster@tnmea.com 

TMEA PUBLICATIONS EDITOR AND 

ADVERTISING MANAGER: 

Michael Chester 

editor@tnmea.org 

TMEA PUBLICATIONS ASSOCIATE EDITOR: 

Justin Scott 

justin.scott@tcsedu.net 

TMEA ADVOCACY AND GOVERNMENT 

RELATIONS CHAIR: 

Christopher Dye, Ed. D. 

christopher.dye@mtsu.edu 

MTSBOA PRESIDENT: 

Debbie Burton 

dlburton98@gmail.com 

MTSBOA PRESIDENT-ELECT: 

Justin Scott 

justin.scott@tcsedu.net 

ETGMEA PRESIDENT: 

Margaret Moore 

mamcmoore57@aol.com 

ETGMEA PRESIDENT-ELECT 

Marcus Smith 

marcus.smith@knoxschools.org 

ETVA PRESIDENT: 

Kenton Deitch 

kenton.deitch@knoxschools.org 

ETVA PRESIDENT-ELECT: 

Stephanie Coker 

scoker@acs.ac 

ETSBOA PRESIDENT: 

Gary Wilkes 

gwilkes428@gmail.com 

ETSBOA PRESIDENT-ELECT: 

Alan Hunt 

ahunt@bradleyschools.org 

CONFERENCE MANAGEMENT TEAM 

TMEA CONFERENCE CO-CHAIR: 

Brad Turner 

brad.turner@acsk-12.org 

TMEA CO-CONFERENCE CHAIR: 

Paul Waters 

paulwaters.tmea@gmail.com 

TMEA CONFERENCE EXHIBITS CHAIR: 

Jo Ann Hood 

jhood10105@aol.com 

ALL-STATE MANAGEMENT TEAM 

TN ALL-STATE CHORAL GENERAL CHAIR: 

Amanda Ragan 

aragan@ortn.edu 

ENSEMBLE CHAIRS 

TREBLE HONOR CHOIR CHAIR: 

Tiffany Barton 

tntreblechoir@gmail.com 

TN ALL-STATE SATB ENSEMBLE CHAIR: 

Lauren Ramey 

lauren.ramey@wcs.edu 

TN ALL-STATE SSAA CHORALE ENSEMBLE CHAIR: 

Amanda Short 

amandalovellshort@gmail.com 

TN ALL-STATE TTBB CHORUS ENSEMBLE CHAIR: 

Kelly Davenport 

davenportk@wcde.org 

TN ALL-STATE 9TH - 10TH GRADE STRING 

ORCHESTRA CHAIR: 

Andy Smith 

andy.smith@sumnerschools.org 

PROJECT CHAIRS 

TMEA MEMBERSHIP CHAIR: 

Position unfulfilled at this time 

TMEA GUITAR EDUCATION CHAIR: 

Chip Henderson 

paul.henderson@mtsu.edu 

TMEA JAZZ EDUCATION POLICY CHAIR: 

Richard Ripani, Ph. D. 

richard.ripani@mnps.org 

TMEA SOCIETY FOR MUSIC TEACHER 

EDUCATION CHAIR: 

Jamila L. McWhirter, Ph. D. 

jamila.mcwhirter@mtsu.edu 

TMEA MUSIC MERCHANTS 

INDUSTRY CHAIR: 

Rick DeJonge 

rick.dejonge@khsmusic.com 

TMEA CONFERENCE REGISTRATION CHAIR: 

Mark Garey 

mgarey86@comcast.net 

TMEA CONFERENCE PERFORMANCE 

GROUP CHAIR: 

John Mears 

mearsj@rcschools.net 

TN ALL-STATE INSTRUMENTAL 

GENERAL CHAIR: 

Todd Shipley 

allstateinstrumental@tnmea.org 

TN ALL-STATE 11TH - 12TH GRADE SYMPHONIC 

ORCHESTRA CHAIR: 

Jessica Peck 

peck_j@hcde.org 

TN ALL-STATE 9TH - 10TH GRADE CONCERT 

BAND CHAIR: 

Carter Noblin 

john.baker@rcstn.net 

TN ALL-STATE 11TH - 12TH GRADE CONCERT 

BAND CHAIR: 

J.R. Baker 

john.baker@rcstn.net 

TN ALL-STATE JAZZ BAND CHAIR: 

Cord Martin 

corderyl.martin@gmail.com 

TMEA WEBMASTER: 

John Womack 

webmaster@tnmea.org 

TMEA TRI-M CHAIR: 

Anna Laura Williams 

anna.laura.williams@outlook.com 

TMEA MUSIC IN OUR SCHOOLS 

MONTH CHAIR: 

Tiffany Barton 

tntreblechoir@gmail.com 

TMEA HISTORY AND ARCHIVES CHAIR: 

Position unfulfilled at this time 

TMEA RETIRED TEACHERS CHAIR: 

Bobby Jean Frost 

bjfrost@aol.com

Compose Your Future 

www.etsu.edu/music 

www.Facebook.com/ETSUMusic 

@GoETSUMusic 

• Bachelor of Music Degrees in 

Performance, Education, and Jazz 

• Nationally recognized classical 

and contemporary ensembles 

• Competitive scholarships based 

on audition

TMEA PRESIDENT’S MESSAGE 


I WANT TO THANK THOSE OF YOU WHO 

ATTENDED THE 2018 TMEA CONFERENCE, 

AND THANKS TO THOSE WHO COMPLETED 

THE POST-CONFERENCE SURVEY. 

End of the year concerts. Final exams. Allergies. Cleaning out and 

organizing. These are all signs of the end of school! Teachers use this 

time to reflect, rejuvenate and take part in professional development, 

and hopefully spend some much-needed time with family. It goes by 

quickly. Pretty soon, band camps will be in full swing and we will be 

planning for the 2018-2019 school year. I challenge all of you (and 

myself ) to take time for yourself this summer. We can’t be the best 

for our students unless we take care of ourselves. 

I want to thank those of you who attended the 2018 TMEA Conference, 

and thanks to those who completed the post-conference survey. 

Based on the feedback we received from that survey, and from 

talking with many of you, the conference was very successful. The 

performances, the clinicians and the presenters were all top-notch, 

and I hope that you were edified and uplifted both personally and 

professionally by having attended. Special thanks to the Country 

Music Association for supporting our conference this year. 

If you weren’t at the conference, Governor Bill Haslam, Education 

C ommissioner Candace McQueen, Country Artist Martina McBride, 

and Country Music Association CEO Sara Trahern were on hand 

at the General Session to unveil the new Tennessee: State of the 

Arts initiative. This competitive grant initiative was developed as 

a public- private partnership between the Country Music Association 

(CMA) Foundation and the State of Tennessee. I’m proud to 

announce that TMEA member Todd Shipley has been hired as the 

Music and Arts Grant Program Director/Arts Specialist with the 

Tennessee Department of Education. Todd will also serve as the 

contact at the Department of Education for all things related to 

our discipline. Congratulations, Todd, and we know you will serve 

our profession well! 

I am so honored to have served our profession as president of this 

organization for the past two years. I believe we have done good 

work in the past two years; we have developed a partnership with 

the Country Music Association, hired a lobbyist and have been more 

involved in the legislative process, and we have improved the conference 

experience for our students and teachers. I look forward to 

the direction that Lafe Cook will lead us as president for the next 

two years. 

4 | TENNESSEE MUSICIAN | 2018 | Volume 70, No. 4

TMEA 2018 Award 

Winners 

Congratulations to the following individuals who received awards 

and recognitions at the 61st Annual Conference of the Tennessee 

Music Education Association on April 12, 2018. 

TMEA Outstanding Administrator: Wincle Sterling, Shelby County Schools 

TMEA 25 Year Service Award: Kay Galloway, Tony Cox, 

Nita Smith, Michael Hendren, Kimberly White 

TMEA 40 Year Service Award: Alan Hunt, Gary Wilkes, 

Marsha Hartwein, Debbie McCoy 

TMEA Outstanding Administrator: Derek Rushworth, Lookout Valley Middle TMEA Outstanding Young Music Educator: Douglas Young, Munford High School 

High School 

Congratulations to President-Elect Alexis Yatuzis-Derryberry 

Congratulations to TMEA President-Elect Alexis Yatuzis-Derryberry! 

She will become the 38th president of the Tennessee Music Education 

Association when she takes office during the academic year 2020. 

As a recognized servant-leader and musician, she has been active in 

music education since 2002 and was most recently the recipient of 

the Country Music Association (CMA) Foundation Music Teachers 

of Excellence Award. 

Experience 

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y Frank M. Diaz 

THE EVERY STUDENT SUCCEEDS ACT: 

Opportunities for Music Educator Action 

by Lynn M. Tuttle 

As we approach the first year of full implementation of the Every Student 

Succeeds Act (ESSA), what should music educators monitor regarding their 

school, district and state ESSA work, and what opportunities can they act on 

within their school, their district, and their state? As with any new law, there 

are many possibilities and opportunities, but, as is always the case, the devil 

is in the details. Where to start? 


Music in State 

ESSA Plans 

Music/Arts in 

Accountability? 

Music/Arts in 

Dashboards/Report 

Cards? 

Music/Arts in 

Title IV? 

Music/Arts support 

Professional 

Development? 

Music/Arts – 21 st 

Century Learning 

Community 

Centers? 

Music/Arts for 

Homeless Children 

and Youth? 

Music/Arts resources 

for Schools in 

Improvement? 

Connecticut ✔ ✔ ✔ 

Delaware 

✽ 

District of 

Columbia 

✔ ✔ ✔ 

Illinois ✔ ✔ ✔ ✔ ✔ 

Louisiana 

Maine 

Massachusetts 

Michigan 

Nevada 

New Jersey 

New Mexico 

Tennessee 

Vermont 

✔ ✔ ✔ ✔ 

✔ 

✔ ✔ ✔ 

✔ 

✔ 

✔ 

✔ 

✔ ✔ 

✔ 

✔ 

* Delaware is given an asterisk, for while music and arts education is not directly mentioned in the state ESSA plan, the Delaware Department of 

Education acknowledged the need to address issues raised by the music and arts education community and has committed to working with advocates on 

guidance or other support materials in the future. 

STATE-LEVEL IMPLEMENTATION 

With a new leader for federal education now in place, U.S. Secretary of 

Education Betsy DeVos, we know more about how states will engage 

with ESSA implementation. And what we know is that the states can 

choose what they do and how they do it. Given the increased responsibility 

and flexibility handed to the states regarding ESSA, here are 

some tips on for what is going on at the state level, and some ideas 

about how you can get involved. 

1 

Know what’s possible. Thirteen states sent their state 

plans to the U.S. Department of Education for approval 

by the April deadline. If you are in one of those states 

(see the table below), review the plan and see what your 

state has already included for music and arts education in 

your state plan. If you reside in Arizona, North Dakota, or Oregon, 

you may be aware that those states have also submitted as of 

the May deadline, and NAfME is reviewing those plans currently for 

information on where music education is supported in those plans. 

Contact lynnt@nafme.org for more information. 

As you can see by this table, many states have included 

music and arts education within their plans, particularly 

in the areas of accountability and funding under Title 

2 IV, Part A (see below for more information on Title IV). 

Share this information with your district, and thank 

your state education leaders for including music and arts 

education. If the information isn’t clear, or you have questions, don’t 

hesitate to contact your state education department to learn more 

about how they will support music and arts education via ESSA. You 

can find your state’s ESSA page and its plan here: http://www.nafme. 

org/advocacy/ESSA/ 

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

Stay in touch with your MEA’s state advocacy leadership 

and NAfME policy staff. Working with our Advocacy 

Leadership Force members in the states and 

sharing information between the states, the NAfME 

policy staff are always happy to help connect you into state 

level advocacy and help you share your expertise and advocacy ideas 

and suggestions. You can find your state advocacy leaders here: http:// 

www.nafme.org/advocacy/essa/nafme-advocacy-leadership-force/. We 

suggest that you connect with your MEA leadership and learn how 

to get involved with the creation, revision and updates to your state’s 

ESSA plan. And you can reach the NAfME policy staff here: http:// 

www.nafme.org/about/staff/advocacy-policy/ 

Know how your state is going to manage their Title 

IV, Part A funds. For this first year of ESSA implementation, 

Congress did not fully fund the new federal block 

4 

grant, which can support a well-rounded education, including 

music. The amount funded is small enough that 

Congress, for this year only, is allowing states to run competitive 

grants for Title IV funds instead of granting those funds out directly 

to districts. A state, for example, could focus the funds for certain 

areas of a well-rounded education or certain areas of educational 

technology, and then create a competitive grant application process 

where districts would have to compete against each other to receive 

the limited funds. In other words—the funds just won’t flow down to 

your district; your district might need to compete for the funds. You 

need to know what your state is planning to do and how it will handle 

these funds, as it will influence your work at the local level. You can 

reach out to your SEADAE member – the arts education consultant for 

your state—to find out more. A list of state arts education consultants 

can be found at www.seadae.org. 

DISTRICT-LEVEL IMPLEMENTATION 

Be prepared for Title IV opportunities for music education 

within your district. ESSA includes a new funding 

1 

3 

opportunity for music education in Title IV-A, or chapter 

4—21st Century Schools. This section of the law is 

greatly revised from prior versions, and includes a block 

grant, or direct funding to school districts, for supporting 

a well-rounded education. Because music is listed in the definition 

of a well-rounded education, music education can be supported by 

these block grant funds, with two caveats: one, music education needs 

have been identified through a district-wide needs assessment and 

two, these local, identified needs are not currently met with state and 

local funding, so would benefit from supplemental, federal funding. 

I encourage you to get involved in the Title IV needs assessment for 

your school district. And NAfME has a built-in tool to help you do 

that – the 2015 Opportunity-to-Learn Standards (OTLs). The OTLs 

list what resources are needed to carry out a quality music education 

program—everything from technology to facilities and instruments 

to student:teacher ratios. You can find the OTLs for your use with 

your district’s needs assessment for music/Title IV here: http://www. 

nafme.org/my-classroom/standards/ 

And understand if the Title IV opportunity will be a block 

a grant to your district—or something for which you will have 

to apply. As noted above, states will have the option this 

year to compete for the Title IV funds instead of just giving them to 

your school district. Therefore, you will need to know how your state 

is handling the funds and if you can and should respond with a grant 

application to the state in order to receive supplemental funds from 

ESSA for music education (and other well-rounded subject areas) 

for your district. The competitive grants will most likely be available 

starting in the fall, so contact your SEADAE member (www.seadae. 

org) to learn more about what your state plans to do. 

Ask for professional development support, which can be 

funded for music educators under ESSA. Funds from 

Titles I, II, and IV of ESSA can support professional 

2 development for educators, administrators and other 

school personnel. With the inclusion of music within 

the well-rounded education definition in the law, music 

educators are able to have professional development funded by these 

dollars now, too. As is the case with the Title IV funding, professional 

development funds will be prioritized for areas identified as having 

needs based on a district-wide needs assessment. So get engaged, 

and ask to be part of your district’s professional development needs 

assessment team for ESSA. 

SCHOOL-LEVEL IMPLEMENTATION 

Understand how music education can now be supported 

under Title I of ESSA if you teach at a Title I School. 

1 

The language for Title I schools has changed in ESSA 

to reflect the importance of a well-rounded education. 

Title I schools come in two varieties—schoolwide Title 

I schools and targeted assistance Title I schools. For the 

first time under ESSA, schoolwide Title I schools are encouraged to 

include information on how they provide well-rounded educational 

opportunities, including music education, to their students in their 

written Title I schoolwide plan. While this doesn’t necessarily mean 

Title I funds will support those well-rounded educational opportunities, 

it’s the first time that schools have been encouraged to include 

a wider range of curricular offerings beyond the tested subject areas 

within their Title I schoolwide plans. Also for the first time under 

ESSA, targeted-assistance Title I schools can use their supplemental 

federal Title I dollars to support well-rounded educational opportunities, 

including music, for their identified students. At targeted-assistance 

Title I schools, students receiving support through a Title I 

program are identified as the most academically at-risk students in 

their school based on academic achievement indicators, usually the 

tested subject areas. Traditionally, Title I funds in targeted- assistance 

schools have funded supplemental interventions in the tested 

subject areas. Under ESSA, well-rounded educational opportunities 

may also be funded for these identified students. 

a 

If you teach at a Title I schoolwide school, ask how music 

will be included in the 2018–2019 schoolwide plan as part 

of a well-rounded education. You can even offer to write 


share information with parents during assemblies, concerts and performances. 

NAfME has a concert-flyer resource for your use to help 

your parents better understand ESSA, too. You can find the flyer here: 

http://www.nafme.org/advocacy/5-ways-to-support-your-music-program/ 

CONCLUSION—AND THANK YOU! 

While the above list might look daunting, we wouldn’t be able to share 

this variety of opportunities with you about the new federal education 

law if you hadn’t done your part with your fellow music education 

advocates and convinced Congress to include music in ESSA. The 

opportunities listed here are because of the work you undertook over 

the last decade to speak out about the importance of music education. 

To make those opportunities become a reality, work now needs to 

occur at the state, district, and school levels. You don’t have to do all 

of this—pick a place to focus and start there. And thank you again for 

making these opportunities possible. We look forward to learning 

what you do with them during this school year! 

Lynn M. Tuttle currently serves as the Director of Public Policy 

& Professional Development for the National Association for Music 

Education (NAfME). 

that section of the plan if that’s okay—so that music gets listed and 

recognized as part of what your school does to support a quality education 

for all its students. [NOTE: your administrator may not even 

know that this is supposed to happen under the new law, so be ready 

to educate as well as ask!] 

If you teach at a Title I targeted-assistance school, consider 

how supplemental music education could support 

b 

the students identified as academically at risk. How else 

could you support them? How would these supports help them with 

the tested subject areas? Sharing this kind of information with your 

principal may help you access these dollars, and, more important, 

provide quality supplemental services to these students as they work 

to thrive in all aspects of their education. 

And don’t be shy about reminding your administrator at your 

c Title I school that ESSA provides protection from students 

missing music to receive remediation. Like No Child Left 

Behind (NCLB), ESSA retains language in Title I that discourages 

schools from providing interventions or remediation for students 

by pulling them out of “the regular classroom.” 

Share with your school leadership how music helps parents 

be engaged with your school. A large part of what 

2 schools are asked to do that receive ESSA funding is to 

make certain parents are engaged with the school. Music 

education is a place where this occurs through our performances, 

our parent volunteers and our parent boosters. You 

can help your school meet its parental engagement goal simply by 

sharing how many parents you reach—or by offering to help the school 

Elementary, Middle, and High School 

Band, Choir, and Orchestra 

2018: 

April 20-21 

April 27-28 

May 4-5 

2019: 

April 12-13 

April 26-27 

May 3-4 

www.SMMFestival.com 

or call:1-855-766-3008 


Photo Credit: Rob Davidson 

Get the National Recognition 

Your Music Program Deserves! 

Apply to be designated by 

The NAMM Foundation as a 

Best Community for Music 

Education (BCME) program 

The 2018 BCME Survey 

is open from 

October 17–January 31 

“Being named a BCME was the catalyst for us to gain an 

expanded music education budget, all while increasing 

community visibility and support. It was a wonderful 

recognition of the efforts of our music staff to provide 

the highest quality of music education possible and 

further provided validation of the quality of 

programs we provide for our students.” 

-LONNIE STOVER, SUPERVISOR OF MUSIC AT 

SYCAMORE COMMUNITY SCHOOLS IN CINCINNATI, OHIO 

Stay Connected 

Sign up to receive 

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episodes, community events, 

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educational downloads. 

Music Education Days at 

The 2018 NAMM Show 

Music educators are eligible to attend 

The 2018 NAMM Show to participate in 

informative sessions; to experience inspiring 

performances; and to preview the latest 

instruments, products and tools relevant 

to today’s music classrooms. 

Be part of The NAMM Foundation 

The NAMM Foundation provides grants, 

supports research and engages in advocacy 

to support music making across the 

lifespan. Learn how you can be part of 

our mission to ensure access to 

music education for all at 

nammfoundation.org/get-involved. 

VISIT NAMMFOUNDATION.ORG/BCME TO LEARN MORE AND TO COMPLETE THE SURVEY

Some are born with 

If authenticity had a 

soul, you would find it 

in Memphis. Creativity 

flows through our veins 

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TIPS ON 

MAINTAINING 

VOCAL 

HEALTH 

by Sarah Seo 

Vocal health is extremely important for singers of 

all ages and musical styles. As a vocalist, I carry 

my instrument with me at all times. And as a 

teacher, a huge part of my job becomes teaching 

my students how they can keep their voices healthy. After 

all, if we break our instrument, we can’t just go out and 

buy another one! 

My students are constantly getting sick. It never fails that 

at least one of my kids will have the sniffles each week. 

Since I’m in contact with these little ones every day, I’m 

consistently subjected to their germs, not to mention 

the germs of their friends that they have been in contact 

with all day at school. It is part of my job to encourage 

my students to keep their voices safe. Children’s vocal 

chords are still developing and fragile, so they are very 

susceptible to damage. As their voice teacher, I take this 

responsibility personally. 

It is just as important to keep my vocal chords safe as it 

is to help my students protect theirs. Without my voice, 

doing my job is extremely difficult. I experienced this 

first-hand recently when I caught the flu. Within only a 

couple days of trying to carry on with my normal schedule, 

my voice decided it was time to quit! Naturally, I wanted 

to keep working. So, I had to think about how to take 

care of my voice while continuing to teach. Obviously, 

I felt incredibly silly being a voice teacher who lost her 

voice, so hopefully my experience and tips can benefit 

you. Because colds, viruses, and allergies are part of life, 

I feel compelled to share some tips on how to proactively 

keep you and your vocal chords healthy. I created this list 

mostly as a reminder since these aren’t all revolutionary 

concepts, but I also included some suggestions on how to 

apply them that may prove useful. 


STAY HYDRATED 

Staying hydrated is one of the most important parts of keeping vocal 

chords healthy. When you sing, your vocal chords are vibrating against 

each other to create sound. Amazing, right? But if they are dry, you 

can strain and/or lose your voice since there is not enough lubrication 

to allow easy and even vibration. 

Obviously, the easiest way to stay hydrated is to drink plenty of fluids! 

Carrying a water bottle is an easy way to help you stay hydrated. 

Throughout the day, I find that I am often thirsty, but if I do not have 

a drink with me, I will not drink anything. Conversely, on the days 

that I have a water bottle with me, (or any drink for that matter) it 

does not take long for me to finish it. 

It is important to note that not all drinks are created equal. Just because 

it is a liquid does not mean that it will help keep your body 

hydrated. Carbonated, caffeinated, and alcoholic beverages will dehydrate 

you. Drink these in moderation, and definitely stay away from 

them if you are sick. I must admit that I drink at least one cup of coffee 

a day, but I follow it with a glass of water to help replenish myself. If 

you do not like drinking a lot of water because you like flavored drinks, 

having packets of low calorie drink mixes on hand is an easy fix! 

DON’T CLEAR YOUR THROAT 

The first thing I want to do when I get a cold is clear my throat. I 

hate the feeling of “gunk” on my vocal chords! Having mucus on your 

vocal chords can cause problems like dehydration, slight swelling, 

irritation, and difficulty speaking or singing, but clearing your throat 

is the worst way to handle it. It causes more irritation and can cause 

enough swelling to lose your voice. Instead of clearing your throat, 

try drinking hot tea, swallowing hard, or some healthy vocal warmups 

– sometimes the vibrating of your vocal chords from singing is 

enough force to shake loose the yuckiness! 

One of my favorite warm-ups to shake loose mucus is sliding up and 

down from do-sol-do on the consonants V or Z. Sliding between notes 

is helpful, but adding the consonant makes it even better for helping 

to clear your voice. Singing on a voiced consonant puts a little extra 

pressure (good pressure) on your chords. You can experience this by 

singing the same exercise on “Ah” and then repeat it on a voiced consonant 

(z, v, m…). Can you feel the difference? V and Z are also great 

because there is even more pressure added from having to force air 

through either your lips and teeth, or tongue and teeth. 

I am sure that I am “preaching to the choir,” but if it hurts to sing, do 

not sing! This means that your vocal chords are experiencing more 

than just a little mucus. In the case that it is uncomfortable to sing, 

your body is telling you that it is time to stop. At this point, resting 

your voice is the best option. 

USE YOUR INSIDE VOICE 

Your normal speaking voice is, for the most part, the healthiest volume 

for your voice. Whispering and yelling, alike, are both stressful 

on your vocal chords. Yes, even whispering puts stress on your voice. 

I often hear people whispering when they begin to lose or have lost 

their voice because they assume the softer volume is better. This is a 

big misconception. Whispering will not help. Whispering and yelling 

once in a while will, obviously, not damage your vocal chords. Consistent 

strain, though, can result in damage; so it is beneficial to think of 

strategies that minimize the number of times your voice is strained. 

YOUR NORMAL SPEAKING 

VOICE IS, FOR THE MOST 

PART, THE HEALTHIEST 

VOLUME FOR YOUR VOICE. 

WHISPERING AND YELLING, 

ALIKE, ARE BOTH STRESSFUL 

ON YOUR VOCAL CHORDS. 

As a teacher, it is important to remember not to attempt to talk over 

the students. Raising your voice will leave you and your vocal chords 

tired. Your students will also become accustomed to hearing your 

voice at that volume and you will probably find yourself shouting 

a lot. Teaching them to respond to a clapped rhythmic pattern, like 

a call and response, is one of the most affective techniques I have 

learned. This way, you are able to grab the attention of the class without 

straining your voice, and you can then say what you need to say 

at a reasonable volume. Speaking at a normal volume is helpful for 

preventing vocal strain, but if your voice is about to go, the best thing 

to do is stop talking altogether – which brings me to my next point… 

STOP TALKING 

If you are losing or have already lost your voice, staying on vocal rest 

is the most important part of recovery. Especially if you have already 

lost your voice, whispering and talking in general will only prolong 

your laryngitis. Like I stated above, when it is painful to sing, it is a 

good time to give your voice a break. Staying on vocal rest gives your 

vocal chords a chance to heal and reduce the swelling. 

This information is important for us as teachers to remember and 

apply. It is incredibly difficult to teach on vocal rest, but not impossible. 

On the days you feel like your voice needs some TLC, use more 

gestures and less vocal prompts. Planning lessons that involve more 

written exercises and less vocal instruction or demonstration can 

be used to your advantage. Also, the days when you want to rest your 

voice can be great days to practice rhythm. Clapping rhythms does 

not involve using your voice at all. Be diligent with staying on vocal 

rest. It is definitely difficult, but not only is it the best for your voice, 

your diligence models good vocal habits to your students. 

DON’T OVER-SING 

Another concept to teach your students is the importance of singing 

with each other, not over each other. Sometimes students have 

difficulty hearing themselves while singing with others. The natural 

reaction is to sing louder until they can hear their own voice. Usually, 


they do this without even realizing it, but they leave with a tired and 

sore throat. Choosing warm-ups that address blending and listening to 

each other can help keep them from straining. Even closing their eyes 

while singing can help the students become more aware of the volume 

of their own voices and of the voices of the people around them. 

The best way to help your students with vocal health is not only educating 

them, but modeling the behavior as well. If you teach them 

about staying hydrated and they see you with a water bottle, they will 

be more likely to apply it to their own lives because they see you doing 

it. Take a day to talk specifically about vocal health. Then, reinforce 

those concepts periodically. 

As I said at the beginning of this article, I speak from personal experience. 

I am finally gaining the high register of my voice back, even 

after months of my speaking voice returning to “normal.” I was afraid 

that my singing voice would never return to normal. This is why I am 

adamant about maintaining vocal health. To my students, losing their 

voices might seem trivial, but it is my job to teach them that prolonged 

unhealthy vocal habits can cause serious issues. Hopefully these tips 

will be helpful and useful to you as well. 

Sarah Seo grew up, and currently resides, in the metro-Atlanta area. 

She earned a Bachelor’s degree in Music Therapy at Georgia College 

and State University in Milledgeville, Ga., where she graduated 

Summa Cum Laude and became a member of the Phi Kappa Phi 

Honor’s Society. She completed her internship in Columbia, S.C., at 

Palmetto Health Baptist Hospital. Sarah is a member of the American 

Music Therapy Association, the Music Therapy Association of 

Georgia, and is board certified. Her main instrument is voice and she 

has performed as a soloist at a variety of venues, but she is proficient 

on guitar and piano. She now teaches voice, piano, and guitar lessons. 

She also practices music therapy at various facilities. This article was 

first published in Choral Director magazine. For a free subscription 

to Choral Director please go to http://www.choraldirectormag.com/ 

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TAKE A LEAD IN YOUR PROFESSION AS A MUSIC EDUCATOR. 

SHARE YOUR BEST PRACTICES AND TEACHING TIPS. 

PRESENT A WEBINAR TODAY! 

Have a great idea to share? Submit your proposal today: 

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IT’S A NEW ERA 

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Your Association. Your Profession. Your Voice. 


MUSIC FOR ALL 

by Debbie Montague 

As a music educator for over 40 years, I have experienced 

many changes in public school education. One change that 

has greatly impacted the classroom environment has been 

an increase in the number of students in my classes who 

have special needs. In the 1970s, teaching elementary music, I had a 

small number of students with special needs mainstreamed into my 

classes. In 2015, in one eighth-grade general music class, 28% of the 

students were identified as having special needs. This number did 

not account for the students who had non-official or non-identified 

special needs or at-risk behaviors. 

In order to better understand how we, as music educators, can provide 

the best learning environment for every child, we must first identify 

the students in our classes who have special needs or are at-risk. 

Understanding the characteristics of the special needs or at-risk 

student can help provide information necessary toward designing 

appropriate curricula. Whether or not a student fits a stereotypical 

profile of a child with special needs or at-risk behaviors, the traditional 

description is generally in terms of social and/or educational 

failures (Donmoyer & Kos, 1998). Usually, the “official” identification 

of a special needs or at-risk student is one that requires a 504 plan or 

has an Individual Education Program (IEP). In my experience that 

description is too narrow. Yes, a student who has been identified as 

requiring modifications for classroom activities and/or homework 

assignments does have special needs, but students with special needs 

may exhibit other symptoms and/or behaviors that affect their ability 

to function in our classes. 

During the past few years, “non-official” at-risk students in my classes 

have included ones who struggle with controlling their behavior, ones 

who are depressed, ones who have difficulty functioning in school, 

socially and/or academically, and ones who suffer with anxiety so 

profound that they cry every time a new activity is introduced. The 

home life of the student can also be an indicator of a child having 

special needs. For example, one of my students moved into our district 

because he was placed in a foster home due to the abusive nature of 

his mother. All of these students not only required accommodations 

to assist in their academic success, they also demonstrated behaviors 

that were disruptive to the educational process and the learning of 

other students. 

Add the non-official special needs students to those who are officially 

designated as special needs and the teacher’s responsibility to meet 

the needs of every student has greatly increased. If you are thinking 

that almost every child we teach could have special needs, you are not 

far from the truth. And that is why it is a challenge to meet the needs 

of every child in our music classes. How can one music educator meet 

the needs of such a diverse population of students? Over the years, 

I have discovered techniques that have proven successful in meeting 

this challenge in my music classes. The foundation of success is 


WORKING TOWARD 

PROVIDING A POSITIVE 

LEARNING ENVIRONMENT 

FOR ALL STUDENTS, WE ARE 

FACED WITH THE CHALLENGE 

OF MEETING THE NEEDS OF A 

VERY DIVERSE POPULATION 

OF LEARNING STYLES AND 

BEHAVIORS. 

based on preparation, organization and planning prior to the start of 

each class, as well as, evaluation and adjustments during each class. 

We must accept all students into our music classes. First and foremost, 

communication prior to the placement of the special needs or 

at-risk student will help alleviate many challenges that tend to occur 

throughout the year. All placement decisions should be based on the 

child’s ability to function in the music class and the teacher’s ability 

to accommodate the child’s needs. It is imperative that the team of 

educators associated with the special needs or at-risk student meet 

prior to the student’s inclusion into the music class. At this meeting, 

in order to design a curriculum plan best suited for the individual 

student, the diagnoses and functioning levels of the student need to 

be addressed, evaluated and discussed. The following topics should 

be included in the discussion: eligibility category of the student, academic 

strengths, academic concerns, level of reading comprehension, 

level of writing ability, required accommodations, social strengths, 

social concerns, “triggers” that might upset the student, techniques 

to de-escalate student’s negative behavior, techniques for rewarding 

student’s positive behavior, social accommodations, physical conditions, 

physical accommodations, mental conditions, goals for inclusion 

into the class and the type of grading best suited for this student. 

Once the child is enrolled in the class, and the teacher has knowledge 

of the child’s abilities and challenges, lessons need to be well 

planned prior to the start of each class. In order for music lessons to 

be effective, the lesson plan must be focused on the desired outcome. 

What is the intent or purpose of the lesson? What are the benefits for 

the students? The following list of benefits is not all inclusive but 

provides a starting point for the preparation of a lesson plan: tools 

for developing social skills, organizing and/or managing behavior, 

developing cognition skills, developing communication skills, developing 

motor functioning skills, developing listening skills. With a 

diverse population of students in our classes, we may have to design 

multiple lessons plans for one class as we strive to meet the needs of 

our students with special needs, at-risk behaviors, non-official needs 

or just being a regular child. 

One of my “typical” classes may consist of 25 students with scholastic 

abilities ranging from advance placement students to students in 

the Contained Learning Center (CLC). Throughout each activity I 

must observe, assess and adjust the participation of each student. 

In a single activity, during the course of a lesson, I must modify the 

lesson so that every student has the opportunity to participate at his 

or her own ability level. The modification may be adjusting the music 

so it is challenging for one student and simplified for another. This 

task must be accomplished in a seamless manner so that the entire 

class can continue to play the music. Just as a fine chef delivers the 

meal at the same time to a party of 25, we must serve our students at 

the same time in an individualistic, yet holistic and organic manner. 

We must be organized and prepared to teach each class effectively. 

To the same degree of importance, we must be ready to be flexible 

enough to change our lesson based on the needs of our students. We 

must remember that the music and the students dictate to us how we 

must adjust our lesson plans. It is our job to give ourselves permission 

to “shift gears” during a lesson. 

Working toward providing a positive learning environment for all 

students, we are faced with the challenge of meeting the needs of a 

very diverse population of learning styles and behaviors. In order to 

diminish the occurrence of negative behavior in the classroom it is 

imperative for the music educator to offer experiences that encourage 

the child to be engaged, and on task, during daily classroom activities 

(Taylor et al., 1997). Our lesson plans must be designed to assist in 

motivating students toward desiring to become healthy, valuable, 

contributing members of our music class. 

Let’s be honest, in order for students to be engaged in classroom activities, 

the curriculum must be interesting and the teacher must 

be motivating. Even a passionate teacher would have difficulties 

engaging students in a boring, non-relevant curriculum. As music 

educators, we must offer experiences that will encourage our students 

to become engaged with their school environment, change their attitude, 

select healthy choices and discontinue behaviors that disrupt 

their education and the education of their peers. Our music classes 

should be designed to provide opportunities for the student to become 

engaged in school activities and encouraged to be motivated toward 

being successful in life. Designing and implementing an engaging 

curriculum is the first step toward success. 

The curriculum design for my general music class is based on handson 

activities that address the development of focus, respect and community 

awareness: principles necessary in addressing and modifying 

at-risk behaviors. The lessons are based on a combination of Will 

Schmid’s “World Music Drumming Curriculum” (WMDC) and arrangements 

of traditional Ghanaian music. The WMDC provides an 

opportunity for students to develop listening and focusing skills, and 

develop a solid foundation of basic playing techniques necessary in 

the study of World Music. The World Music, with an emphasis on 

Ghanaian music, incorporated in this curriculum focuses on the 

importance of the individual within the community while playing 

rhythmic patterns, and combinations of rhythmic patterns, that require 

the student to concentrate on the music and listen attentively 


to all elements of the music. This curriculum is both structured and 

flexible. The music can be modified to both meet the needs of the 

student and allow the student to participate fully in the playing of 

the music. Every child has the opportunity to play every instrument 

and its rhythmic pattern for each piece. 

As a director or a participant of a performing group, we must evaluate 

and assess the musical structure and accuracy as the music is being 

played. The same is true for ensembles playing World Music. We 

listen, we evaluate, we make decisions and we form constructive comments 

in order for the students to be successful in playing the music. 

The students in my general music classes are not graded on musical 

ability but rather participation, effort and behavior. Students with 

special needs or at-risk behaviors participate to the fullest extent possible 

based on their individual abilities and level of comprehension. 

The general music curriculum that I teach lends itself to being taught 

in a circle, with all members equally important. In my classes, the 

students are informed 

that respect, to themselves, 

each other 

IN AN ENVIRONMENT OF 

ACCEPTANCE AND RESPECT, 

THE STUDENTS ARE TAUGHT 

THAT ALL LEVELS OF 

STUDENT PARTICIPATION ARE 

VALUED AND IMPORTANT. 

and the instruments 

we play, is first and 

foremost in all of our 

classroom activities. 

In an environment 

of acceptance and 

respect, the students 

are taught that all 

levels of student participation 

are valued 

and important. If any 

student chooses to be 

disrespectful, he is 

asked to either stop 

playing, or sit outside 

the circle, until he can 

participate fully and 

respectfully. It is his 

decision as to how long he needs to be removed from the class activities. 

In this manner, the curriculum is designed and implemented to 

address and modify negative behaviors while encouraging students 

to be engaged in our daily classroom activities. 

Research indicates that a music curriculum of active rhythm-based 

activities implemented in an environment of respect for all students, 

emphasizing the importance of the individual within the community 

of the class, fosters relationships of respect and encourages the atrisk 

student to remain on task. Larry Brendtro and Mary Shahbazian 

(2004), experienced in the education of at-risk youth, express the importance 

of a child having a sense of belonging. Many music cultures 

of the world are based on community participation. Through playing 

music from a variety of cultures, students are provided opportunities 

to participate in a community-based activity that may encourage them 

to become engaged in the lessons and motivated toward participating 

in a positive manner. 

A general music curriculum based on World Music can be a powerful 

tool in addressing the challenges faced by a special needs or at-risk 

child. When presented to the students in an authentic, enthusiastic 

manner, World Music can engage students in a community where they 

can develop respect, acceptance and understanding for themselves 

and people of other cultures. Due to the diverse population that we 

teach, no one method will work for every child. One individual may 

respond positively to a certain technique, another may not. We can 

increase our success in meeting the diverse needs of our students by 

providing an engaging curriculum that is both organized and flexible. 

I have found that curriculum in teaching music of various cultures, 

with an emphasis on the music of Ghana. Learning the music of other 

cultures can be challenging, frustrating, delightful, difficult and 

enlightening, all at the same time. Studying new music, looking into 

other styles, genres or instruments and then playing the music as a 

community can help our students foster a better understanding of 

themselves and others. That understanding may help them feel more 

comfortable, and hopefully more successful, in our class and at school. 

What a joy it is to share our passion for music 

with children and young adults. (Well, almost 

every day.) How we teach our students 

should be powerful and life changing. To be 

able to serve every student takes preparation, 

organization and planning prior to the 

start of each class, as well as evaluation and 

adjustments during each class. It also takes 

a passion for teaching music. Is this a lot of 

work? Yes, but the benefits for our students, 

no matter their ability level, far outweigh the 

additional work. 

Participating in musical ensembles must 

provide an environment of acceptance, trust 

and respect as each student performs at his 

own ability level within a music community. 

Through the years, I have observed that 

playing music in an environment in which 

every student is a valuable member of the ensemble 

encourages the students to develop a connection to the other 

members of the class. This connection could affect the students in 

a positive way, shifting their perceptions and encouraging them to 

become engaged in the class activities. Engaged in class activities, 

and feeling connected, a student may be motivated toward desiring 

healthy, pro-social behavior and developing opportunities for success 

and growth as a student and a citizen. 

Debbie Montague, a music educator for over thirty-nine years, currently 

teaches Band and World Music at Kenmore Junior High School in 

the Northshore School District. Debbie received her BA from Central 

Washington University, MA from the University of Washington, and 

DMA from Boston University. Debbie has presented numerous clinics 

and sessions at seminars, workshops, and conferences at the state, 

regional, national and international level. In 2014, she was inducted 

into the Washington Music Educator’s Hall of Fame. This article first 

appeared in Voice of Washington Music Educators Vol. LXI, No. 1, pp. 

25-27. Special thanks to editor Scott Ketron for assistance. 


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TMEA BACK THEN 

• Artistic trends and the rise of the minimalist 

art movement found its way into 

graphic design at the start of the decade 

that was the 1970’s. This might explain 

the most minimal cover design to date of 

any issue of the Tennessee Musician. The 

cover was designed by Mary Ferguson, 

then art teacher at Central High School 

in Memphis, Tennessee. Interestingly 

the cover’s masthead, “Official Publication 

of the Tennessee Music Educators 

Association” also included “And the Tennessee 

Music Teachers Association.” In 

December of 1968, the TMEA Board and 

Board of the Tennessee Music Teachers 

Association (TMTA) approved a publication 

merger whereby a certain amount of 

page space would be reserved for TMTA 

news and events. This “journal within a 

journal” began to serve a dual purpose 

for both organizations. The masthead 

was officially changed in the first issue 

of volume 21 in 1968. This partnership 

continued until the publication of the 

first issue of volume 27 in 1974. While 

Lawrence P. Cooney was listed as editor, 

Leon R. Smith, then presumably on 

faculty at the University of Tennessee at 

Knoxville, was listed as TMTA editor. 

• In his last address as president of TMEA, 

L. Howard Nicar gave a rather scathing 

report regarding the 1970 excise tax 

on State and Federal Banks that passed 

the Tennessee Legislature. The tax was 

essentially used to give teachers in Tennessee 

a much-needed raise. However, 

the estimated tax revenue amounted to 

just over 2.6 million dollars, which fell 

short of the 11 million dollars requested 

by the Tennessee Education Association. 

Nicar’s central argument was that every 

proposed tax raise in the State of Tennessee 

was done so in the name of education. 

Yet when all was said and done, 

very little of the revenues generated ended 

up being used for education and instead 

was diverted to other needs. Nicar 

would further add “The point is that if 

the taxes “sold” in the name of education 

remained for education it would not be 

necessary for the TEA to seek new taxes 

every year to further their programs.” 

• An article titled Status of Music Education in Tennessee Public Schools by Nolan S. Barham 

was published in this issue. This research article is an interesting read, especially 

to anyone conducting research on the current status of music education in the State of 

Tennessee. Barham’s article cited research methodologies and the results of his survey 

which was conducted during the 1968-1969 academic year. Barham’s article also cited 

nine recommendations. Barham was then an assistant professor in the department of 

education and psychology at Carson-Newman College (now University) in Jefferson 

City, Tennessee. 

• Composer Fisher Tull won the 15th Annual Ostwald Award for Band Composition, 

sponsored by the American Bandmasters Association and Uniforms by Ostwald, Inc. 

The composition, Toccata for Band, was performed at the ABA Convention on February 

28, 1970 in Columbus, Ohio by the Ohio State University Concert Band under the direction 

of James W. Dunlop, then Ostwald Award Chairperson and Director of Bands at 

Pennsylvania State University. 

THE TENNESSEE MUSICIAN (MAY 1970) 

Volume 22, No. 4 – 24 pgs. 

TMEA President – L. Howard Nicar 

Editor – Lawrence P. Cooney 


To us, every 

moment matters. 

You create the music, we’ll do the rest. 

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bobrogerstravel.com Making Moments That Matter Call: (800) 373-1423 

for 35 years

Tennessee Music Education Association 

129 Tennessee Paschal Music Drive 

Education Association 

Murfreesboro, 129 Paschal Drive 

Tennessee 37128 

Murfreesboro, Tennessee 37128 

you work hard at 

sounding good 

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TN Musician Vol. 70 No. 4

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