TN Musician Vol. 71 No. 4

THE OFFICIAL PUBLICATION OF THE TENNESSEE MUSIC EDUCATION ASSOCIATION
Portfolios:
Pathway to Improved
Teaching and Learning
p. 14
BY JOSEPH PERGOLA
Including Literacy
in Your Rehearsals
BY MARCIA NEEL
p. 22
Using Dorico
in the Classroom:
A Guide for Music Teachers
p. 28
BY DANIEL SPREADBURY
VOLUME 71, NO. 4

TENNESSEE MUSICIAN
EDITORIAL STAFF
MICHAEL W. CHESTER
Managing Editor and Advertising Manager
JUSTIN T. SCOTT
Associate Editor
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E-Newsletter Editor
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Place non-member subscription and single copy orders
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in Microsoft Word format.
TABLE OF CONTENTS | 2019 | VOLUME 71, NO. 4
PRELUDE – A MESSAGE FROM THE EDITOR 6
Michael Chester
TMEA PRESIDENT’S MESSAGE 8
Lafe Cook
BY THE NUMBERS/VERBATIM 10
Lisa Burden
FEATURED ARTICLES
PORTFOLIOS:
PATHWAY TO IMPROVED TEACHING AND LEARNING 14
Joseph Pergola
INCLUDING LITERACY IN YOUR REHEARSALS 22
Marcia Neel
USING DORICO IN THE CLASSROOM:
A GUIDE FOR MUSIC TEACHERS 28
Daniel Spreadbury
SCENES FROM THE 62ND ANNUAL TMEA PD CONFERENCE 30
TENNESSEE MUSICIAN ADVERTISER INDEX 34
TMEA BACK THEN 36
Advertising: Information requests and ad orders
should be directed to: Michael Chester, Editor-in-Chief
(615-904-6771 ext. 31600) e-mail: editor@tnmea.org.
All advertising information is on the TMEA website,
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)
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Musician, c/o National Association for Music
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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,
non-profit 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 website, 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
p. 14 p. 22 p. 28

TMEA BOARD AND COUNCIL
NATIONAL EXECUTIVE BOARD
(National Association for Music Education)
SOUTHERN DIVISION PRESIDENT:
Dian Eddleman
deddleman@usjbruins.org
TMEA OFFICERS
TMEA EXECUTIVE DIRECTOR:
Ron Meers
execdirector@tnmea.org.org
TMEA PRESIDENT:
Lafe Cook
president@tnmea.org
TMEA PRESIDENT-ELECT:
Alexis Yatuzis-Derryberry
pres-elect@tnmea.org
TMEA IMMEDIATE PAST-PRESIDENT:
Johnathan Vest, Ed. D.
past-president@tnmea.org
BOARD OF DIRECTORS
TMEA STATE GENERAL MUSIC CHAIR:
Linzie Mullins
linziemullins9@gmail.com
TMEA STATE CHORAL CHAIR:
Reachel Hudgins
choralchair@tnmea.org
TMEA STATE ORCHESTRA CHAIR:
Anna Maria Miller
orchestrachair@tnmea.org
TMEA STATE BAND CHAIR:
Megan Christian
megan.christian@knoxschools.org
TMEA STATE HIGHER EDUCATION CHAIR:
Barry Kraus, DMA
higheredchair@tnmea.org
TMEA STATE COLLEGIATE NAFME CHAIR:
David Royse, Ph. D.
droyse@utk.edu
TMEA SOCIETY FOR MUSIC TEACHER EDUCATION/
RESEARCH CHAIR:
Jamilia McWhirter, Ph. D.
jamila.mcwhirter@mtsu.edu
TMEA STATE EDUCATIONAL TECHNOLOGY CHAIR:
John Womack
webmaster@tnmea.org
TMEA ADVOCACY AND GOVERNMENT RELATIONS CHAIR:
Christopher Dye, Ed. D.
christopher.dye@mtsu.edu
TMEA PUBLICATIONS EDITOR AND
ADVERTISING MANAGER:
Michael Chester
editor@tnmea.org
TMEA PUBLICATIONS ASSOCIATE EDITOR:
Justin Scott
justin.scott@tcsedu.net
TMEA COUNCIL
WTGMEA PRESIDENT:
Frances Miller
wtgmeamemphis@yahoo.com
WTGMEA PRESIDENT-ELECT:
Ray Mullins
wtgmeamemphis@yahoo.com
WTVMEA PRESIDENT:
Emily Taylor
etaylor@colliervilleschools.org
WTVMEA PRESIDENT-ELECT:
Sharon Morris
smorris@lced.net
WTSBOA PRESIDENT:
Ollie Liddell
ollie_liddell@hotmail.com
WTSBOA PRESIDENT-ELECT:
Jennifer Cupples
jennifer.cupples@chestercountyschools.org
MTGMEA PRESIDENT:
Rachel Lapinski
lapinskir@rcschools.net
MTGMEA PRESIDENT-ELECT:
Corynn York
corynn.york@cityschools.net
MTVA PRESIDENT:
Lia Holland
liaholland@mtcscougars.org
MTVA PRESIDENT-ELECT:
Gerald Patton
pattong@rcschools.net
MTSBOA PRESIDENT:
Debbie Burton
president@mtsboa.org
MTSBOA PRESIDENT-ELECT:
Justin Scott
justin.scott@tcsedu.net
ETGMEA PRESIDENT:
Marcus Smith
marcus.smith@knoxschools.org
ETGMEA PRESIDENT-ELECT:
Amanda McMahan
amanda.mcmahan@knoxschools.org
ETVA PRESIDENT:
Stephanie Coker
scoker@acs.ac
ETVA PRESIDENT-ELECT:
Deborah Gouge
debgouge@charter.net
ETSBOA PRESIDENT:
Alan Hunt
ahunt@bradleyschools.org
ETSBOA PRESIDENT-ELECT:
Donald Benton
dbenton@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
TMEA CONFERENCE REGISTRATION CHAIR:
Mark Garey
mgarey86@comcast.net
TMEA CONFERENCE PERFORMANCE GROUP CHAIR:
John Mears
mearsj@rcschools.net
ALL-STATE MANAGEMENT TEAM
TN ALL-STATE CHORAL GENERAL CHAIR:
Amanda Ragan
aragan@ortn.edu
TN ALL-STATE INSTRUMENTAL GENERAL CHAIR:
Todd Shipley
todd.shipley@mnps.org
ENSEMBLE CHAIRS
TREBLE HONOR CHOIR CHAIR:
Tiffany Barton
tntreblechoir@gmail.com
TN ALL-STATE SATB CHOIR CHAIR:
Amanda Short
amandalovellshort@gmail.com
TN ALL-STATE SSAA CHOIR CHAIR:
Kelly Davenport
davenportK@wcde.org
TN ALL-STATE TTBB CHOIR CHAIR:
Lauren Ramey
lauren.ramey@wcs.edu
TN ALL-STATE 9TH–10TH GRADE STRING
ORCHESTRA CHAIR:
Nichole Pitts
pitts_stephanie@hcde.org
TN ALL-STATE 11TH–12TH GRADE SYMPHONIC
ORCHESTRA CHAIR:
Gary Wilkes
gwilkes428@gmail.com
TN ALL-STATE 9TH–10TH GRADE CONCERT BAND CHAIR:
Carter Noblin
noblinc@wcschools.com
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
PROJECT CHAIRS
TMEA JAZZ EDUCATION POLICY CHAIR:
Richard Ripani, Ph. D.
richard.ripani@mnps.org
TMEA MUSIC MERCHANTS INDUSTRY CHAIR:
Rick DeJonge
rick.dejonge@khsmusic.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 RETIRED TEACHERS CHAIR:
Bobby Jean Frost
bjfrost@aol.com
2 | TENNESSEE MUSICIAN | 2019 | Volume 71, No. 4

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Tennessee Music Education Association | www.tnmea.org | 5

PRELUDE - A MESSAGE FROM THE EDITOR
Michael Chester || Stewarts Creek High School
S
ummer, as we all know, seems to be
the time for reflection for many
teachers. The familiar grind has
come to a temporary halt and with that
void comes some uninterrupted time to
contemplate. Lately, I’ve been thinking
a lot about the state of education and
in general the constant push for higher
and higher achievement test scores, the
demand for more rigorous education
standards, more emphasis placed on
STEM, and the continuous invasion
on the very sacred thing we all call
instructional time. I use the term invasion
to be intentionally provocative. There
seems to be an increase in the workload
of the non-instructional aspects required
of teachers today. This inevitably creates
two problems – a loss of instructional
time and a loss of the much-needed
emotional energy and “head-space” to be
an effective educational leader.
All of this comes with a very high cost.
Students seem to be more stressed out
than ever, heavily medicated, and lack
necessary coping skills because of the
various parenting behaviors in today’s
culture of hypersensitivity. Yet we
demand more from students, now more
than ever. Skills that students in fourth
grade were expected to master in past
decades have today been replaced with
skill sets and achievements that were
expected from freshmen and sophomores
in high school. We simply can’t end there.
Now the expectation is for students in late
elementary school to start thinking about
college. High school students are expected
to participate in college dual-enrollment
6 | TENNESSEE MUSICIAN | 2019 | Volume 71, No. 4

classes to get a head start for college. While
this level of expectation has some merits, it
also begs the question as to whether or not
the increase in academic rigor is healthy
for students. The educational-industrial
complex, with its special interest lobbyists,
have for years championed an increase in
higher and higher academic standards
for students and what they should know
upon graduation. Yet it seems unclear as
to whether or not any determination for
the developmental, social, and emotional
maturity and growth of students was ever
factored. Just because the standards have
changed to include skills once reserved for
high school or middle school students to
be taught to elementary school students
doesn’t mean they are ready for it.
This is where the importance of being
a music educator is ever so critical, today
more than ever. Our classes and those in
the other arts disciplines give students
a much-needed respite. Moreover, our
classes give students the tools to express
themselves in an appropriate matter
and to deal with adversity through
perseverance. It would be hard to imagine
if our profession was caught-up in
the current trends of education. If the
emphasis in K-12 music education was
simply all about the end product, perhaps
the landscape would be drastically
different. To think that middle school
students who are just being introduced
to performance ensemble classes would
be expected to master musical skills once
reserved for high school students would
have dire consequences. There would
only be a select few who could achieve
those skills, and the rest would fall by
the wayside.
As music educators, we seem to be
lucky in that we are masters of our own
fate. We have been fortunate that despite
all of the changes to our curriculum and
standards for music education, that our
standards are still grade-level appropriate
for students. Even with all of the changes
in technology and even the constant
evolution of arts education standards for
music, we have always managed to take
into consideration appropriate standards
for music education based on the grade and
developmental levels of the students.
There was once a time when students
learned more than just about the subject
matter that was being presented to them.
Schools were still charged with making
sure that students also had an education
in character, conduct, and civility. While
teachers of today are certainly as skilled,
and in some ways perhaps more prepared
to take on the task of education, than those
of their predecessors, they just are not
afforded the opportunities to instill the
fundamental values as they once could
because so much of the instructional
time has to be devoted to “the test.” For
better or for worse, that job now falls
We have always
managed to take
into consideration
appropriate
standards for music
education based
on the grade and
developmental levels
of the students.
onto the shoulders of music educators.
Our classrooms may be the last bastions
of hope for the many students that we are
privileged to work with. Today’s students
face an uncertain future in a drastically
changing and polarizing landscape.
Despite all of this, I believe that students
who participate in music classes will
ultimately have an advantage in the world,
due in no small part to some of the most
valuable skill sets that were instilled by a
music educator.
Michael Chester | Managing Editor
Tennessee Music Education Association | www.tnmea.org | 7

TMEA PRESIDENT’S MESSAGE
Lafe Cook || Dobyns-Bennett High School
T
hroughout my career, I’ve learned
that great teachers use the
summer to both relax and unwind
from the school year and to reflect upon
and plan for the future. I know that I’m
planning on trying to do both of those
things as much as I can this summer. By
the time you read this message, summer
will be in full swing, and I hope that
you are enjoying some much-needed
time off. As TMEA President, I have the
added responsibility of also reflecting
on our growth and achievements as
an association.
As I look back at the progress we have
made, I am also keenly aware that there
is still much to do. In thinking about
this, my thoughts have turned back to
our TMEA Professional Development
Conference this past April. It was quite
a display of just how fortunate the
students of Tennessee are to have such
great music educators. The selected
TMEA Performing Ensembles continue
It’s time to let the
leadership know that
there is a significant
segment of our
Tennessee schools
who serve a diverse
socio-economic
student population
who struggle to
maintain affiliations
with our regional and
state associations
due to the cost of
membership
at the national level.
to display a high caliber of musicianship
that represents the high standards
of Tennessee music educators. In
addition, the TMEA Spotlight Chamber
Ensemble performances also highlighted
excellence in teaching with a diverse
mixture of traditional and non-traditional
ensembles. And of course, our Tennessee
All-State Ensembles keep raising the bar
higher and higher with their outstanding
conductors and performances. On
top of all that, we have a professional
development conference that brings
together so many exceptional leaders
in so many facets of contemporary
music education.
Reflecting upon those four days in
April, I think about the many people
of our association who also volunteer
and serve TMEA year-round in order
to ensure an excellent experience for
our membership, and for our students.
It can sometimes be easy to take these
individuals for granted as many of us are
not aware of how much goes on behind
the scenes to make our experience in
April something we look forward to each
year. I am so grateful and thankful to the
members of the TMEA Board and Council
and to everyone who volunteers for our
TMEA. Words truly cannot express how
much your leadership means to me and to
all of us across Tennessee.
It has been a very productive year for
TMEA. I am happy to report that our
association has made some significant
progress towards some goals in our
strategic plan. This year we have once
again partnered with the Country Music
Association Foundation. Their unyielding
support of music education in Tennessee
is unparalleled, and we could not thank
them enough for their generosity. As
a result, we were able to launch our
first TMEA Regional Professional
Development Grant, which awarded
more than $8,000.00 for professional
development grant money to the
following organizations:
• West Tennessee General Music
Association
• East Tennessee American Orff-
Schulwerk Association
• Tennessee Chapter of Collegiate
National Association for Music
Education
• Rutherford County Schools
• Tennessee Bandmasters Association
We continue to flourish under the
watchful auspices of our team at Milsaps-
Gowan and the ArtsEd Tennessee. I
can’t stress how important it is to have
lobbyists who are working on our behalf
for arts education in Tennessee and who
are keeping a watchful eye on legislation
that could have a drastic impact on what
we do. I feel good about what TMEA has
done and is currently doing for our music
educators. Yet there are still some things
that I think we should aim to accomplish
as we head into the next school year.
At the conference, I had the pleasure to
attend many of the area caucus meetings.
There were many productive topic
discussions. One of the common threads
that each area shared was the future
of TMEA’s relationship with NAfME.
There were many points of pros and cons.
8 | TENNESSEE MUSICIAN | 2019 | Volume 71, No. 4

In thinking about what is truly best for
Tennessee, I have decided to make a rather
bold proposal to NAfME. It’s time to let the
leadership know that there is a significant
segment of our Tennessee schools who
serve a diverse socio-economic student
population who struggle to maintain
affiliations with our regional and state
associations due to the cost of membership
at the national level.
What your TMEA leadership is going
to propose to NAfME is for a complete or
partial waiver of NAfME membership fees
for first time members teaching in lowincome
schools. Members of the TMEA
Board will be busy this summer drafting a
proposal to submit to NAfME Leadership
at the National Leadership Assembly in
late June. What will come of this proposal
remains as of yet to be seen. What is
abundantly clear to me as TMEA President
is that there is a segment of our students
in Tennessee who are not being given
access to events like regional honor bands,
choirs, and orchestras, simply because
their school systems or their teachers
do not have the means to fund their
NAfME membership.
We all know that anything that involves
institutional change can be painfully slow.
What is important now is not recognizing
the glacial pace of progress but rather the
fact that things that are of interest and
importance to Tennessee music educators
are being addressed, not just for the here
and now but for the long game ahead.
I will keep you apprised of our progress.
In the meantime, I hope that your summer
is both rewarding and relaxing.
Lafe Cook | TMEA President
Tennessee Music Education Association | www.tnmea.org | 9

BY THE NUMBERS | VERBATIM
Lisa Burden
TOP 10
SOFT
SKILLS
Any music educator who has taught for
a number of years can recount former
students who have achieved many
successes. They can also share moments,
letters, emails, and phone calls with these
students who have said that they, as a
music educator, attributed to this success.
They won’t discuss the scale that was
taught or the technique of the voice or
instrument. Rather, they will talk about
the soft skills that they learned from that
educator in their class.
A 2016 LinkedIn survey of 291 hiring
managers in the U.S. revealed that 59%
of them believe that soft skills are difficult
to find.
LinkedIn also analyzed the soft skills
listed on the profiles of members who
changed employers between June 2014
and June 2015 to identify the most soughtafter
soft skills among employers. These 10
topped the list:
ORGANIZATION
ALWAYS
PUNCTUAL
SOCIAL SKILLS
INTERPERSONAL
COMMUNICATION
FRIENDLY
PERSONALITY
2 4 6 8 10
56.5% 55.9% 55.8% 55.0% 54.6%
1
COMMUNICATION
3
5 7 9
57.9% 56.4% 55.8% 55.0% 54.9%
TEAMWORK
CRITICAL
THINKING
CREATIVITY
ADAPTABILITY
Berger, Guy. Data Reveals the Most In-Demand Soft Skills Among Candidates. 30 Aug. 2016, business.
linkedin.com/talent-solutions/blog/trends-and-research/2016/most-indemand-soft-skills.
VERBATIM
“I think the most valuable thing
she (Beckye Thomas) taught me
was having a talent and a passion
for music is a beautiful thing but
having the work ethic and that
passion to match it is really when
you can find magic.”
-Kelsea Ballerini
on how retired Knoxville Central
teacher, Beckye Thomas, impacted her
“My high school band director,
Mr. Koch, pushed me to reach my
full potential. I knew all along that
I wouldn’t build a career around
playing the tuba, but he never allowed
me to think like that. As I slacked
and rebelled, he never let me forget
that I possessed a special talent. I
hated it at the time but now I’m able
to reflect — he taught me self-respect
and discipline in a firm but kind
way. I am forever grateful to him for
challenging me.”
-Gwen Schroeder
TED Post-Production Manager
“My high school band director, Virgil
Spurlin. . . seemed to instinctively
know. . . what questions to ask to
find out what was really going on
in their lives. He also was always
looking for things that young people
could do besides play music. We
put on the state band festival every
year, for example, and he let lots
of us help. And he taught us basic
organizational skills and how to
allocate resources and move things
around. But always he was trying to
find things that people were good
at. He thought that everybody was
good at something and if he just
looked hard enough he could find
it, he could convince them of it, and
he could raise their aspirations and
their hopes.”
– President Bill Clinton
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PORTFOLIOS:
Pathway to Improved
Teaching and Learning
Joseph Pergola
T
hankfully, the education profession
is once again focusing on the
importance of “assessment”. The
first big push for embedded assessment
accompanied the introduction of the
National Standards which called for the
systematic assessment of student learning.
The newest education initiatives such
as Common Core, Annual Professional
Performance Reviews and others
designed to improve student learning,
have once again brought assessment
front and center as a critical element in
the teaching/learning process. It’s time
to re-examine portfolio assessment
in light of today’s push for evidence
of learning.
Comprehensive assessment is the
most significant factor in the pursuit
for better student learning. Improved
learning is totally dependent on
successful teaching and successful
teaching is dependent on improved
teacher instruction! Successful teachers
continually evaluate the teaching and
learning process. They determine the
learning level of their students and
refine their instruction for greater
success. Improved student learning is an
out-growth of information necessary to
judge student understanding, measure
student progress and examine student
thought processes. Teachers who are
successful question what they can do
differently, what new materials they can
use and what new instructional approach
they can take for improved results.
In other words, successful teachers
assess learning because assessment
improves instruction.
There are many forms of assessment
and many assessment tools. Classroom
assessment can include a wide range of
options. These options can be divided
into two (2) categories. Most assessment
proponents recommend “Formative
Assessment” which is on-going or
embedded assessment, continually
observes student learning and evaluates
the scope and pace of student learning
so the teacher can reflect on their
instruction and refine their teaching.
Assessment that determines student
competency only at the conclusion of
a specific instructional period of time
is “Summative Assessment”. This form
of assessment is used to determine
if students have mastered specific
competencies and identify instructional
areas in need of attention. The critical
element in both forms of assessment
is the tool or tools used to administer
the assessment.
There are many assessment vehicles
available. Most assessment vehicles
provide good information about
specific aspects of student learning at
a specific point in time. For example;
a “rubric” rates knowledge or skill
about a specific instructional topic.
An “observation report” supplies
data about the specific endeavor
being observed. The only assessment
tool that contains multiple forms of
assessment is “Portfolio Assessment”.
It is both simultaneously formative
and summative. Portfolio assessment
captures the process of learning and
contains samples that exemplify
a student’s knowledge of essential
learning at various stages of instruction.
SO WHAT IS A PORTFOLIO?
A portfolio is an assessment vehicle
that contains a purposefully selected
collection of student work designed to
show student effort, document student
progress, reveal student strengths,
create awareness of student weaknesses
and informs the teacher, student and
parent of the status and progress of a
student. It is not just a pile of student
work accumulated over a semester or
year. Portfolios enhance the assessment
process by revealing the range of student
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skill and understanding. Portfolios align
assessment with specific student learning
objectives and overall instructional goals.
HOW DO PORTFOLIOS BENEFIT STUDENTS?
The use of portfolios in the assessment
process give students an opportunity to
demonstrate and record the knowledge
and skill they have gained. Portfolios
help develop student responsibility for
their own learning by requiring students
to contribute specific appropriate
content. It requires students to critique
their own work, thereby reinforcing
learning. This process of demonstrating
strengths and recognizing weaknesses
motivates students to achieve at a higher
level. Student participation in portfolio
assessment promotes life-long learners.
WHAT IS THE BENEFIT OF PORTFOLIO
ASSESSMENT TO THE TEACHER?
Portfolio assessment makes
instruction more productive because
it helps teachers measure their own
effectiveness as well as the amount of
student learning actually taking place
at a given point in time or over a long
period of time. Portfolio design helps
teachers focus instruction on essential
learning and sequential development.
There is no better assessment vehicle for
demonstrating learning to supervisors
and communicating growth to parents
than a well constructed portfolio.
student work. The student work selected
for a portfolio should show evidence of
development and must contain samples
of students’ best work to demonstrate
evidence of learning. One of the unique
characteristics of portfolio assessment
is the ownership of each portfolio by the
student. Portfolio assessment makes the
student a partner in the learning process
making them equally responsible for
their own learning. It requires students to
select samples of their work they believe
show growth and demonstrate learning.
Portfolios provide students with the
invaluable opportunity to reflect on their
learning; thereby giving them a clear
understanding of what they know and
where they need to improve.
A portfolio is an assessment vehicle
that contains a purposefully selected
collection of student work designed
to show student effort, document
student progress, reveal student
strengths, create awareness of student
weaknesses and informs the teacher,
student and parent of the status and
progress of a student.
Portfolios can exist in many forms.
There are printed portfolios, on-line
portfolios, teacher managed portfolios
and student managed portfolios.
Regardless the type or format, all
portfolios focus on building and
maintaining a collection of student work.
WHAT ARE THE CHARACTERISTICS OF
AN EFFECTIVE PORTFOLIO?
The content of a useful portfolio must
address the desired instructional goals
set for the individual student or the
entire class. It should contain within
itself multiple assessment information
gathered from various assessment tools.
To serve as a superior assessment vehicle,
portfolios must show the level and rate of
student growth and development over
a period of time. The most important
content in a good portfolio is sample
16 | TENNESSEE MUSICIAN | 2019 | Volume 71, No. 4

PORTFOLIO
DEVELOPMENT
1 2 3
PHASE 1: PLANNING AND
ORGANIZATION
There are three (3) major phases in the development of an effective portfolio: Planning
and Organization, Selection and Collection, Assessment and Reflection.
PHASE 2: SELECTION
AND COLLECTION
PHASE 3: ASSESSMENT
AND REFLECTION
This initial phase of portfolio
development requires teachers to
make decisions about desired and
necessary learning objectives.
Teachers must set “benchmarks”
that represent the goals for student
development.
Teachers must identify the
“essential learning” appropriate
for their specific grade level.
Teachers must organize selected
learning objectives in a scope and
sequence that promotes “sequential
learning”.
Teachers must educate their
students about the purpose and
goals of the portfolio.
Teachers must determine students
responsibilities in the development of
the portfolio.
ABOUT THE AUTHOR
Joe Pergola is the retired Director of
Fine Arts from the William Floyd School
District on Eastern Long Island, New
York. A graduate of the New York College
of Music, he received his undergraduate
degree and teacher certification from
Dowling College, a Masters Degree from
SUNY Stony Brook and his Administrative
Degree from C.W. Post University.
During his tenure at William Floyd, he
taught elementary, middle school and high
school band. His performance ensembles
received the highest rating at New York
State Ensemble Adjudication for 21
consecutive years.
After being named Director of Fine Arts,
the William Floyd Music Department was
named a NAfME Model Music Program.
Teachers must select the content of
the portfolio based on the identified
learning objectives.
Teachers must be sure portfolio
content demonstrates what students
know and are able to do.
Teachers must develop a criteria
for the selection of learning artifacts
chosen by the teacher and the students.
SUMMARY
• Portfolio assessment accomplishes
numerous objectives simultaneously.
•
Portfolios create a partnership between
the teacher, the student and the parent.
• Portfolio assessment provides teachers
with vital information about the
effectiveness of their instruction and
the rate and range of students’ progress.
The New York State Theater Association
and the National Theater Association also
named Joe “Administrator of Year.”
He serves as a member of the New
York State Council of School Music
Administrators and a member of the
Advisory Board of the New York State
Band Directors Association. Pergola is a
published author with four (4) books to his
credit and serves as a frequent clinician at
NAfME Conferences throughout the United
States. He currently works for the National
Education Service Company as Director
of Education and Arts Development and
is a member of the adjunct faculty at C.W.
Post / Long Island University.
Teachers must develop an
evaluation procedure for tracking
and grading portfolio content.
Teachers must use the best
assessment tools when evaluating
individual learning activities.
Teachers must use portfolio
content as a source for informing
themselves as well as parents and
supervisors about student progress.
• Portfolios help students become aware
of their strengths and weaknesses.
• Portfolios promote self-reflection
for both the student and the teacher.
• Portfolios allow parents to gain
insight to the progress their children
are making toward mastery of
expected goals.
Joseph Pergola
Tennessee Music Education Association | www.tnmea.org | 17

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

20 | TENNESSEE MUSICIAN | 2019 | Volume 71, No. 4

INCLUDING
LITERACY IN YOUR
REHEARSALS
Marcia Neel
L
iteracy can signify a diverse intention,
and, in fact, our rehearsals can provide
us with opportunities to teach literacy
in every sense of the word. For purposes
of this article however, literacy will
refer to “artistic literacy” rather than
literacy in the other academic areas.
Created by the National Coalition for
Core Arts Standards and released in
2014, the National Core Arts Standards
(NCAS) cultivate a student’s ability to
carry out the four (4) Artistic Processes
of Creating, Performing, Responding
and Connecting.
If we think back about our most
rewarding musical experiences, many of
us would be able to clearly articulate the
specifics about the piece, the conductor,
the location of the performance and
where we were in our lives at that time
in general terms. In fact, a question
that I used to ask prospective music
educators in the interview was, “tell me
about the most rewarding performance
experience you ever had.” The reason
for this inquiry was to ensure that
the candidate could specifically
communicate what it takes to provide
this type of experience for others. In
almost every case, interviewees would
respond that the reason they had this
significant “experience” was because
they were thoroughly prepared musically
and also possessed a deep understanding
of the work being performed. Think
about it —shouldn’t every rehearsal lead
to a performance where all of the musicmakers
are confidently prepared both
musically and intellectually?
Yes, but the concern often arises that
directors just don’t have the time to work
with those “other” processes. Performing
is what comes easiest however it also
goes without saying that high-quality
performances come about as a result
of in-depth study and preparation. The
Teaching Music Through Performance
series published by GIA has provided a
model to emulate. Each work presented
provides a Teacher Resource Guide made
up of specific units as follows:
Unit 1: Composer
Unit 2: Composition
Unit 3: Historical Perspective
Unit 4: Technical Considerations
Unit 5: Stylistic Considerations
Unit 6: Musical Elements
Unit 7: Form and Structure
Unit 8: Suggested Listening
Unit 9: Additional References
and Resources
Having this type of comprehensive
information at our fingertips provides
us with the depth of knowledge required
to fully prepare our students for
studying, and eventually performing, a
specific work.
But what about Creating, Responding
and Connecting? (The music standards
consider Connecting to be embedded in
the processes of Creating, Performing,
and Responding) The ideas provided
below are from directors who have
found a way to incorporate these Artistic
Processes into their curriculum.
CREATING. Today’s young people are
1 creating their own music more than
ever and the vast majority of them are
not in our ensemble classes! What is it
about creating that leads so many young
22 | TENNESSEE MUSICIAN | 2019 | Volume 71, No. 4

Having this type
of comprehensive
information at our
fingertips provides
us with the depth of
knowledge required
to fully prepare our
students for studying,
and eventually
performing, a
specific work.
Tennessee Music Education Association | www.tnmea.org | 23

people to experiment with and dabble
in this process? Have a conversation
with your ensemble about the creative
process then encourage them to come up
with their own creations (compositions/
arrangements). The end result could
be a video recording of the students
performing their works. Students could
create their own solos, or they could be
encouraged to work in groups – duos,
trios, quartets, etc., in preparing their
composition. For example, during
marching band season, challenge each
section to come up with their own
musical “cheer.” They can arrange
contemporary songs or compose their
very own. Another idea I learned from
the band program at Foothill High School
in Henderson, NV, is to have students
arrange or compose their own “Musical
Holiday Cards” to send to former music
teachers, parents, and school staff.
Students will be energized by the idea
of creating such a special gift for those
who have helped them along the way.
Finally, you could schedule a special
concert where students from your
program can join with students from
the school’s other musical ensembles to
perform their works.
Creating also means coming up with
new instruments. I’ve seen students play
compositions on percussion instruments
made with PVC pipe. Through the use
of technology, students have generated
compositions and arrangements
performed on their computers. Think
Eric Whitacre’s series of Virtual Choirs
or Jacob Collier’s unique and inspiring
videos like “Don’t You Worry ‘Bout a
Thing” or “Isn’t She Lovely.” The key is
to give your students guidelines to work
within so that they have a framework for
their composition. They will be excited
by the challenge and you will be amazed
with the outcome.
2
RESPONDING. Encourage your
students to think about how the
music they choose to listen to while
not in rehearsal makes them feel? Can
they come up with cognitive reasoning
for their choices? Is there a common
thread to the music that they choose? Is
there a cultural significance to the music
and does it elicit a specific response?
( joy, relaxation, locomotion, etc.) Ask
students to make an on-paper playlist
of 20 musical selections that they chose
to listen to over a specific 24-hour
period within a given “Let’s Listen”
week. Provide them with a spreadsheet
to complete that requests the following
information: 1) Artist name, 2) Song
title, 3) Song style, 4) Response. Lead
students to discover if there is a common
thread – do they choose one artist or style
over another because of how the music
makes them feel? Next, ask students to
explore and consider how this relates
to the creative process? In other words,
do composers create music to elicit a
specific response from the audience
or even the musicians themselves?
Finally, ask students to relate their own
responses to the music being refined
in rehearsals. Do they see a correlation
between how they feel about the music
to how the audience thus responds to it?
Music is used to create all sorts of
responses intentionally which is why
it is used, for example, in commercials
to encourage purchasing, in themed
performances (4th of July, etc.) to elicit
feelings of patriotism, and in movies to
influence the audience in some way. It
is thus important for us guide them in
developing their ability to perceive music
and analyze it, to interpret the intent and
24 | TENNESSEE MUSICIAN | 2019 | Volume 71, No. 4

meaning of the work and finally, to apply
some sort of criteria to evaluate it.
In the big picture, these are the same
processes that music-makers have
followed for generations as they connect
through music to themselves and their
societies. Our student music-makers
also need to have experiences in creating
to be successful musicians as well as
successful 21st century contributors.
Finally, they need to respond to music as
well as to their culture, their community,
and their peers. Our rehearsals provide
the optimal intersection for all of these
processes so let’s stretch out and try
something new to enhance the musical
experiences for our students.
Marcia Neel
ABOUT THE AUTHOR
Marcia Neel serves as president of
Music Education Consultants, Inc.,
a consortium of music education
professionals who work with a variety
of educational organizations, arts
associations, and school districts
to foster the growth and breadth of
standards-based, articulated music
education programs. She also serves
as Education Advisor to the Music
Achievement Council, a 501(c)(6)
organization whose sole purpose is
to assist directors in recruiting and
retaining students in instrumental music
programs through effective professional
development programs. In 2016, Marcia
was named Senior Director of Education
for the Band and Orchestral Division
of Yamaha Corporation of America and
subsequently, a Yamaha Master Educator.
Neel also serves as a member of the
Board of Directors of the Percussive Arts
Society. Special thanks to School Band
and Orchestra where this article was first
published in February of 2017.
Tennessee Music Education Association | www.tnmea.org | 25

26 | TENNESSEE MUSICIAN | 2019 | Volume 71, No. 4

Tennessee Music Education Association | www.tnmea.org | 27

USING DORICO IN
THE CLASSROOM:
A Guide for
Music Teachers
Daniel Spreadbury
H
ere, we offer tips and advice for
music teachers so that they can get
the most out of Dorico Elements,
focusing in particular on two of the
crucial challenges of teaching music
– how do teachers convey their own
musical knowledge to students,
and how do teachers give students
the right framework to explore and
create for themselves?
#1
HELPING STUDENTS TO
UNDERSTAND MUSIC
One of the most common hurdles faced
by a music teacher is communicating
their own musical knowledge and
experience to students in a way that is
simple and understandable.
With Dorico Elements, it’s easier
for teachers to produce the learning
materials and arrangements they need
for this very task. There is also a wealth
of useful learning resources online,
which are highly recommended to
teachers. There are a number of tutorial
videos from our YouTube channel that
offer clear visual demonstrations of
how to get to grips with the features of
our composing software. As any teacher
will already know, everyone learns
differently, and having access to both
visual and text-based resources can be a
huge advantage.
Teachers can also use the software
to demonstrate to their students the
connection between music notation
and the music that is heard. While
some students may already be familiar
with how a piano roll looks in other
applications, such as GarageBand or
Cubase, they may not yet have the
same mental association between this
and notation.
Being able to switch between views
for piano roll and music notation
allows teachers to clearly establish this
connection by connecting the auditory
feedback of playback, with the more
abstract graphical appearance of the
piano roll, and then finally the notation.
#2
HELPING STUDENTS TO
EXPLORE MUSIC
Once you’ve successfully given
the students the tools, they need to
develop an understanding of the more
fundamental aspects of music. The next
challenge is to provide them with a space
that allows them to put it into practice in
an effective way.
More than almost any other academic
subject, music requires giving students
the space to explore musical ideas and
possibilities for themselves, within
a broader structural framework. For
teachers, Dorico Elements is an ideal
tool for building this kind of framework
– the simple, uncluttered way that it is
organized musically creates the ideal
space to learn the basics of notation and
composition simply by exploring the
functions and user interface.
For example, teachers can quickly
prepare exercises to complete using the
software, such as providing them with a
musical motif or phrase, and asking them
to write an answering phrase, harmonize
it, or provide a counter-melody written on
a contrasting instrument. For students
less experienced in this area, they can be
encouraged to use the software to appraise
the material by creating accompanying
words and images.
These two approaches to using
Dorico Elements in the classroom will
help teachers to tackle the two sides
of musical understanding – not just
the practical experience of creating
music, but a practical and engaging
way of exploring the underlying ideas
and concepts.
As any teacher
will already know,
everyone learns
differently, and
having access
to both visual
and text-based
resources can be
a huge advantage.
28 | TENNESSEE MUSICIAN | 2019 | Volume 71, No. 4

Daniel Spreadbury
ABOUT THE AUTHOR
Daniel Spreadbury is the Product
Marketing Manager for Dorico, the
music notation software from Steinberg.
Daniel holds a master’s degree in music
from University College, Oxford, and
has worked in the field of music notation
software for 20 years, first as the lead
designer and product manager for
Sibelius until 2012, and since then on
the next-generation application Dorico,
after he and the rest of the original
Sibelius development team were laid
off from Avid and joined Steinberg.
A keen singer and choral director,
Daniel works with both adult and
childrens choirs. He has been closely
involved in the application of music
technology in education throughout
his career and is passionate about the
positive impact technology can have
in the teaching and learning of music.
Tennessee Music Education Association | www.tnmea.org | 29

SCENES FROM THE 62 ND ANNUAL TMEA PROFESSIONAL DEVELOPMENT CONFERENCE
1
Lafe Cook, 37th President of TMEA, gives
his opening remarks during the opening
session.
1
2
2
3
4
CMA Foundation Executive Director
Tiffany Kerns addresses TMEA about the
CMA Foundation’s commitment to music
education.
Keynote Address by Patrick John Hughes.
Performance and Keynote Address by
Patrick Henry Hughes.
3
5
Cynthia Johnston Turner conducts the
TMEA All-Collegiate Band.
6
TMEA Outstanding Music Educators of
the Year – Carter Noblin, Wilson Central
High School (Center) and Linzie Mullins,
Snowden School (Right).
7
TMEA Outstanding Administrator of
the Year - Dr. Angela McShepard Ray,
Principal, MLK Jr. Academic Magnet
School.
4
8
TMEA Outstanding Administrator of
the Year - Dr. Chris Causey, Director of
Schools, Robertson County Schools.
9
TMEA Recognition of Service Award –
Robbin Johnston (Right) and Bill Van Sant
(Left).
10
TMEA Friend of Music Education Award
– Beverly and Robert Puckett, Clarksville
Youth Performing Arts Association.
11
TMEA Friend of Music Education Award –
Peter Abell, President and CEO, Memphis
Symphony Orchestra.
5
12
13
TMEA Hall of Fame – Dian Eddleman,
NAfME Southern Division President,
University School of Jackson
TMEA President-Elect Alexis Yatuzis-
Derryberry introduces the TMEA All-State
Choir Concerts.
14
TTBB All-State Choir conducted by Gary
Packwood and accompanied by Lisa Powell.
30 | TENNESSEE MUSICIAN | 2019 | Volume 71, No. 4

12
6
7
8
9
13
10 11
14
Tennessee Music Education Association | www.tnmea.org | 31

15
SSAA All-State Choir conducted by
Rosephanye Powell and accompanied by
Delana Easley.
15
16
SATB All-State Choir conducted by
Michael John Trotta and accompanied by
Tyler Merideth.
17
18
All-State Jazz Band directed by Ronald
Carter.
Tennessee Treble Honor Choir conducted
by Maribeth Yoder-White and accompanied
by J.J. Ebelhar.
19
All-State 9th and 10th Grade String
Orchestra conducted by David Eccles.
17
19
20
21
22
All-State 11th and 12th Grade Symphony
Orchestra conducted by Gary Lewis.
All-State 9th and 10th Grade Concert Band
conducted by J. Steven Moore.
All-State 11th and 12th Grade Concert
Band conducted by Gary Hill.
18
16
22
20
21
32 | TENNESSEE MUSICIAN | 2019 | Volume 71, No. 4

Tennessee Music Education Association | www.tnmea.org | 33

TENNESSEE MUSICIAN ADVERTISER INDEX | VOLUME 71, No. 4
ADVERTISER
A very
special
thank you
to all of our
advertisers
who
support
the work
of music
educators
at all levels
in the
State of
Tennessee.
Austin Peay State University 27
Belmont University 7
Bob Rogers Travel 18
East Tennessee State University 5
Lee University
Inside Front Cover
Liscomb University
Back Cover
Middle Tennessee State University 33
NAMM Foundation 9
Quaver Music 12
Sewanne Summer Music Festival 27
Slate Group
Inside Back Cover
Smoky Mountain Music Festival 27
South Carolina School of the Arts 21
Stanbury Uniforms 19
Tennessee State University 13
Tennessee Technological University 11
University of Memphis 3
University of Tennessee at Knoxville Bands 20
University of Tennessee at Knoxville School of Music 35
University of Tennessee at Martin 26
Yamaha Corporation of America 4
34 | TENNESSEE MUSICIAN | 2019 | Volume 71, No. 4

Tennessee Music Education Association | www.tnmea.org | 35

TMEA BACK THEN
In this issue, then TMEA President,
John R. Bright penned his final letter.
Bright’s term as TMEA’s 13th President
was coming to an end. In his message,
he thanked many of the individuals who
had served as members of the TMEA
Board of Control as well as numerous
select committee chairs of the TMEA
Convention and Tennessee All-State
Ensembles. His letter also acknowledged
the closer working relationship that
was established with the Tennessee
Department of Education. He credited
this based upon the committee work that
was undertaken by T. Earl Hinton as it
related to teacher certification, and by
Jay Craven who headed the committee
on elementary education and curriculum.
Craven would succeed Bright as TMEA
President on July 1, 1972.
The feature story of this issue was a
salute to TMEA’s first editor, Dr. J. Clark
Rhodes. Dr. Rhodes had recently retired
from the University of Tennessee at
Knoxville where he had served for almost
twenty-five years. He was appointed as
a Professor of Music Education in 1955
and would hold that position until his
retirement. Tapped as the first editor
of the Tennessee Musician, he served
in that position from 1948-1950 and
then again during the years 1967-1969.
He also served on the editorial board
for the Music Educators Journal. Dr.
Rhodes also served as a president of the
American Choral Directors Association,
and first president of the Tennessee Music
Teachers Association. His influence in
Tennessee and beyond helped TMEA
to establish a solid foundation for more
significant equity in access to music
education throughout all parts of the state.
His quirky and humorous editorials from
the first issues can be found on the TMEA
website. A music scholarship in his name
was announced in this issue and is still
listed on the website of the University of
Tennessee at Knoxville School of Music.
A report of the Elementary Music
Committee that was chaired by Jay
Craven appeared in this issue. His
committee was charged with three
areas of review – 1. To evaluate the
present elementary general music
curriculum. 2. To recommend upgrades
and improvements to the curriculum. 3.
To recommend and select outstanding
clinicians for special interest sessions for
the TEA Conventions. The report detailed
a list of the committee’s findings and
recommendations and asked for feedback
from the TMEA membership.
Then TMEA Editor Pat Cooney
published a copy of a letter that was
written by then TMEA President John
Bright and sent to the then Assistant
Commissioner of the Tennessee
Department of Education Dr. John
Cox. The letter was a request to place
limits on the class sizes of general
music classes. In 1970, the Tennessee
State Board of Education had adopted
language with regards to class size limits.
It was deemed that “Class size limits
could be exceeded for Band, Orchestra.
Chorus, and Glee Club provided that the
instructional program in those areas is not
impaired.” School administrators were
misunderstanding the language set forth
and were interpreting general music as a
performance-based class. Bright’s letter
petitioned the Tennessee Department
of Education to revise the language
(mentioned above) with the following
addition, “. . . but shall not be exceeded in
non-specialized music classes, such as
general music, grades K-12.”
THE TENNESSEE MUSICIAN (MAY 1972)
Volume 24, No. 4—24 pgs.
John R. Bright, TMEA President
Lawrence P. Cooney, Editor
36 | TENNESSEE MUSICIAN | 2019 | Volume 71, No. 4

Tennessee Music Education Association | www.tnmea.org | 37

TENNESSEE MUSIC EDUCATION ASSOCIATION
129 PASCHAL DRIVE
MURFREESBORO, TENNESSEE 37128