Texas Music Educators Conference

CONNECTIONS

The state affiliate of NAfME the National Association for Music Education

MacArthur High School Orchestra members performing at a Barnes & Noble fundraising event

Februrary Meeting Photos Peer-Review Call for Papers CTME Column ARTICLES: Suggestions for How to Continue Writing While Being a Music Teacher Educator by Kristen Pellegrino Mentoring: Making Connections Through Music Education by Charlotte Mizener A Critical Conversation: Assessment & Accountabilty in Public School Fine Arts Programs by Christopher Hanson Creating Powerful Tools Through Power-Point, Part 1 by Brian VandeWalle

Spring 2015, Vol. 29 No. 3

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Connections

Spring, 2015  Vol. 29, No. 3

TMEC Executive Board President: Mackie Spradley [email protected] President-Elect: Angela Leonhardt [email protected] Past-President: Susan Dill [email protected] Member-at-Large: Julie Kastner [email protected] Member-at-Large: John Zarco [email protected] Executive Secretary: Barb Stevanson [email protected] Editor: Renee Higgins [email protected]

www.tmec.org

TMEC Council of Chairs Membership Susan Dill; [email protected] Collegiate Amanda Soto; [email protected] Teacher Education Kristen Pellegrino; [email protected] K-12 General Music and MIOSM Christopher Hanson; [email protected] Peer-Review Editorial Jacque Henninger; [email protected] Research Charlotte Mizener; [email protected] Technology Brian VandeWalle; [email protected] Tr-M Music Honor Society Carolyn Vandiver; [email protected] Multi-Cultural Debra Flournoy-Buford; [email protected] Retired Mary Ann Drawl; [email protected]

Table of Contents

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President’s Editor’s Suggestions for How to Podium Notes Continue Writing by by While Being a Music Mackie Spradley Renee Higgins Teacher Educator by Kristen Pellegrino



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TMEC Mentoring: A Critical Conversation: Meeting Making Assessment & Accountability Photos Connections Through in Public School Fine Music Education Arts Programs by by Charlotte Mizener Christopher Hanson



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CTME Column by Mercedes Gonzalez



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Creating Powerful Tools Through Power-Point Part 1 by Brian VandeWalle

Collegiate Officers President Mercedes Gonzalez; [email protected] Secretary/Treasurer Victoria Sanchez; [email protected] Outreach/Chapter Coordinator Jyron Joseph; [email protected]

Connections is published three times a year with fall, winter and spring issues by the Texas Music Educators Conference. Mailed electronically to all members. Single copies, $4.00. Send editorial or advertising queries to the editor: Renee Higgins, 12323 Almendra, San Antonio, TX 78247; PH: 210-495-9837; e-mail: [email protected]. (c) 2015 Texas Music Educators Conference. ISSN 1073-8193.

TMEC Connections  Spring, 2015 1



President’s Podium By Mackie Spradley Coordinator-Secondary Choral/General Music Studies Visual & Performing Arts for Dallas ISD and TMEC President

Greetings! What a great convention! We owe a huge “Thank You” to Dr. Glenn Nierman, President of the National Association for Music Education and Dr. James South, Southwestern Division President of the National Association for Music Education, who addressed our TMEC Executive Board during the convention. Their presentations detailed the work of NAfME, provided specific targets of the Southwestern Division and included the status of the national organization from various data driven descriptors. Their presence provided a foundation for understanding our purpose and how we could adapt and adopt new practices to increase membership, participation and interest. Secondly, we must also thank our outgoing Executive Board members: CTME Advisors and Member-at-Large. Commendations to Mollie Tower, CTME advisor, Dr. Robin Stein, Interim CTME Collegiate Committee Chair and Mandi McCasland, Member-at-Large. Your work has helped us to move forward. We owe you. We must also thank our loyal sponsor, Music in Motion for providing our refreshments at the annual meeting and reception. We are extremely excited to welcome to the Executive Board, Dr. Amanda Soto, Texas State University, San Marcos as the new CTME advisor and Dr. Julie Kastner, Member at Large from the University of Houston. During our Executive Board meeting, we experienced new energy and innovativeness. We are pumped about our future and believe great things are in store for all of us. YOU are an integral part of the work. As a state affiliate of NAfME, we are redefining who we are and clearly identifying our purpose as the state affiliate of NAfME. Some highlights of that work are as follows: 2

Music in our Schools Month

Hopefully, all of you were able to display or celebrate MIOSM in some tangible way at your schools and throughout your districts. If not. . . not to worry. You STILL have time to make an impact on the theme. The theme is an appropriate approach to advocate for music education any time of the year. So, if you were not able to, you can still collect stories about the importance and impact of music on our students, parents, schools, and communities in order to share with representatives from Texas on Advocacy Day in Washington, DC at Capitol Hill Day 2015. Feel free to scan, take pictures or fax anything you would like to share to me. I will collect the artifacts and organize them for Capitol Hill Day 2015.

Broader Minded and Think Beyond the Bubbles

Have you seen this logo? Do you know its importance? The Broader Minded logo is representative of the platform to support music as a core subject that has significant impact on students’ brains and learning. Over the next few weeks, we face STAAR tests, makeup tests, AP exams, End of Course Exams, Final Exams, concerts, programs, and projects. Our time is riveted with high stakes testing which is also accompanied by all the anxieties associated with the need to perform or do well. Although we have faced decades of accountability testing, there is a significant push against testing that is consistently making gains. The tide may be slowly changing but it will take the voice of many to make it a “test-free environment” a reality—even if it is only “a little more of a test-free environment”—We’ll take it! TMEC www.tmec.org Connections  Spring 2015

As we engage others in the discourse about music and its power to transform individuals, schools and societies, please share more of the research that can be found on the website. Go to www.broaderminded.com to the interactive website for Broader Minded and Think Beyond the Bubbles. It’s just another way to advocate for music education for all students in Texas schools.

Music is a Core Subject

Defining music as a core subject should have a significant impact on how music is perceived in education. We already have various school districts within the state advocating for a STEAM agenda INSTEAD of a STEM agenda. AND that push is gaining STEAM! This change is how we define music and it is being considered at the State level, as well as in the language of the House proposed bill of the Reauthorization of the Elementary and Secondary Education Act (ESEA). Texas music administrators strongly support “tearing down the walls” between core and music/fine arts. Using dual language in any piece of legislation defining the importance and or status of any subject within the curriculum, but particularly music, creates secondclass citizenship for music students. On the Federal level, Congress aligns the importance of the curriculum with the dollars. As Congress continues to work toward a consensus on the budget and what should be included as key components of the reauthorization of the Elementary and Secondary Education Act, NAfME’s Assistant Executive Director, Christopher Woodside, suggests “maintaining the definition of core academic subjects, including ‘the arts’ in the reauthorization. . . “ To see more go to: http://www.nafme.org/teachersspoke-nafme-listened-congress-got-the-message/ Continue to articulate the need for music to be protected from excessive pull outs, cuts, and other practices that classify music as unimportant to the education of that student.

Supporting Music Scholarship and Music Education Research in Texas and Beyond

practitioners to submit manuscripts to our state Journal Connections, for review throughout the year. Most importantly, this is a peer review process and all accepted manuscripts count towards publication. TMEC Connections is registered with EBSCO and ProQuest, which offer a significant platform to expose your work and research. To learn more about the Call for Papers go to: http://tmec.org/5.html Please share with all College of Education and Music Education professors and/or schools that might be interested in helping doctoral students get published before or after graduation.

There are Scholars Among us!

We want to highlight the scholarship within our TMEC membership by creating a method to track those who are selected to present at the Texas Music Education Convention 2016. More information about this will be forthcoming.

Keeping our Ears to the Ground:

• In TEXAS: Keep abreast of legislative decisions that may impact TX-BESS, the new evaluation system for Texas public school teachers. Most importantly, we want an evaluative tool that measures the effectiveness of a music teacher by their ability and effectiveness in teaching music. • On a National Level: Keep abreast of upcoming legislation which promises to alter teacher education and teacher education preparation programs in higher education

Keep it Musical, Stay Involved and Let’s Keep Moving Forward!

With only a few more opportunities to perform and share music with others, remember to keep it about the music! Embrace what you and your students have learned over the school year. For those of you in higher education, your students have also gained the ability to write and/ or talk about their learning in a more critical way. Find opportunities for your students to get involved in music educational discourse. Finally, if you are beginning to see any new trends or practices within your area, please call me and let me know. If there is any potential issue, we may be able to control for any loss or unwanted consequence. My email is listed on page 1 and the TMEC website.

We are strongly encouraging doctoral students, music education researchers, music administrators, and TMEC www.tmec.org Connections  Spring, 2015 3

Editor’s Notes By Renee Higgins Business Manager of the St. Mary’s Law Journal, St. Mary’s University and TMEC Editor

It was good to see everyone in San Antonio recently and we hope that your spring semester has produced all the results you were looking to achieve when the school year began. The students may only be passing through, but you are helping them to appreciate the love of music and the skill it takes to make it and perform at their best. Sometimes life-long relationships are being formed while collectively working as a team towards a common goal in your classrooms and performance halls. Our recent guest from the Southwestern Division of NAfME, President James South made a clear point in his presentation at our meeting in February when he said, “We cannot bench any of our players.” Teachng music is an experience for every child and will benefit each one in long-term ways. Even if these children do not go on to future music careers, they are learning the discipline required to achieve goals when working collaboratively with others. That is a skill that serves everyone well regardless of vocation. It is good to realize and remember that the lessons you teach and ones that are learned, often go beyond just the musical. We were also pleased to hear from NAfME President Glenn Nierman at the recent meeting. He shared information from the national association and efforts are clearly being made to saveguard and promote the future of music education and educators. These experienced educators and excellent advocates are hard at work along with your local chapter organization TMEC to help in any way we can to address the issues effecting you and your students. Keep in contact with the leaders who are dedicated to serving your needs so they can help. TMEC President, Mackie Spradley just shared the many ways TMEC aims to serve and help and as your organization, we always have open ears to hear more great ideas.

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We have another fine offering of articles from several excellent authors this issue. Kristen Pellegrino gives us suggestions on how to keep the academic writer alive in each of us which is a very worthy endeavor. Charlotte Mizener shares ideas on mentoring which is such a critical component to professional development and career longevity. Chis Hanson has some thoughts on assessment in fine arts programs which has been one of the biggest topics at the state and national levels for awhile now. Lastly but not least, Brian VandeWalle delivers a piece on incorporating Power-Point into the classroom. Sure, there are lots of technology tools available and more all the time. Isn’t it nice when we can take a familiar, tried and true software program which is already loaded on our computer, and make it do things that work well for teaching music concepts? We also share some photos from the state meetings and as well as a CTME column in this issue from newly elected President, Mercedes Gonzalez, of Texas State University. The collegiate officers are our future leaders in the profession and they often have new innovative practices where we can all learn some lessons. I’m always impressed when we get to hear about the activities the CTME officers are involved with and the new ways they move forward with their organization. Along with the TMEC members and officers, we are very fortunate to have the collegiate chapters across Texas engaging in meaningful ways to promote causes important to them and the future of the profession. As you finish up the spring semester and make plans for the summer and the next academic year, please take time to reflect on the successes you and your students have had. Celebrate those things, you’ve done well.

TMEC www.tmec.org Connections  Spring 2015

UNT College of Music Summer Workshops 2015

13th Annual Pirastro Strings Elite Soloists Program May 22–29 Jeff Bradetich ClarEssentials Middle School Clarinet Workshops June 8–10 Guyer High School, Denton, TX June 15–17 Cobb Middle School, Frisco, TX Kimberly Luevano, Kristen Thompson, Connor O’Meara Flute! Fundamentals for Teachers June 8–12 Mary Karen Clardy 28th Annual Bradetich Double Bass Masterclass June 8–12 Jeff Bradetich, Jack Unzicker 15th Annual Lynn Seaton Jazz Double Bass Workshop June 8–12 Lynn Seaton North Texas Conductors Collegium June 8–19 Eugene Migliaro Corporon, Dennis Fisher 15th Annual Beginners and Intermediate Bass Camp June 10–12 Jeff Bradetich, Gudrun Raschen, Jessica Gilliam Valls, Carlos Gaviria Flute! Middle School Day Camp June 12–13 Mary Karen Clardy

Marching Percussion Camp Paul Rennick, Michael Hernandez June 15–18 String Orchestra Day Camp June 15–19 Rebecca Roesler (Grades 2–10) Flute! Practicum for Performers June 15–19 Mary Karen Clardy Keyboard Percussion Symposium (Formally UNT Marimba Workshop) June 15–19 Christopher Deane, Brian Zator, She–e Wu, Sandi Rennick, Gordon Stout, Ed Smith Flute! Masterclass in Repertoire and Performance June 19–21 Mary Karen Clardy Vocal Pedagogy Workshop June 19–20 Stephen F. Austin Summer String Institute Session 1: June 19–26 Session 2: June 26–July 3 Violin: Bui Cong Duy, Julia Bushkova, Philip Lewis, Felix Olschofka, Gary Levinson, Alex Kerr Viola: Ralph Fielding, Daphne Gerling, Liesl–Ann de Villiers, Susan Dubois Cello: Eugene Osadchy, Nikola Ruzevic, Elizabeth Morrow Orchestra: Clay Couturiaux Vocal Jazz Summer Workshop June 21–26 Jennifer Barnes, Rosana Eckert, Greg Jasperse

ClarEssentials High School Clarinet Workshop June 24–27 Daryl Coad, Deb Fabian, Kimberly Luevano, John Scott Drum Major and Student Leadership Camp June 25–28 Nicholas Williams, Jeremy Spicer, Manuel Maldonado, Duane Hill (Texas Tech), College Drum Majors from Texas Universities Flute! High School Camp June 27–29 Mary Karen Clardy Texas High School All–State Choir Camp July 8–11 Alan McClung, director, Amanda Quist, guest conductor Jazz Combo Workshop July 12–17 Mike Steinel Middle School/Junior High Honor Choir Camp July 15–18 Alan McClung, director, Rebecca Reames, guest clinician Mariachi Summer Camp July 21–25 Donna Emmanuel Alexander Technique August 1–2 Phyllis Richmond

For information contact Anne Oncken: 940–565–4092, [email protected]

www.music.unt.edu TMEC www.tmec.org Connections  Spring, 2015 5

Suggestions for How to Continue Writing While Being a Music Teacher Educator Kristen Pellegrino

The Institute for Music Research, University of Texas at San Antonio and TMEC Teacher Education Chair The career trajectory of a typical music teacher educator involves first being a K-12 music teacher, then returning to college to earn a doctoral degree, and then becoming a music teacher educator. Since being a K-12 music teacher does not typically involve scholarly writing, this article summarizes my suggestions for how to continue writing while being a music teacher educator. These suggestions include: (a) find your writing patterns and be persistent!; (b) understand the long term nature of the research process and plan accordingly; (c) understand that scholarly writing and service are part of your job— it’s not just about teaching anymore!; and (d) form a writing group or some support system.

Find your Writing Patterns and be Persistent! You do not have to binge write, but you can. For some people, writing is like practicing: do some every day, or at least 5 times a week. In fact, some find that it is more effective to use smaller chunks of time and, when you finish writing, make a plan for what you should work on next time. Then, your brain has time to problem solve and, when you sit down to write, your time will be used more efficiently. For other people, it is helpful to have days when you focus on teaching and other days to focus on writing. Dr. Ann Marie Stanley, who teaches at the Eastman School of Music, suggests using the voice memo to record phrases/sentences that come mind on nonwriting days. Whether you write a little many days a week or binge write, I still recommend that you make a plan for what you should work on next time at the end of each writing session. Find a schedule that works best for you, reflect on it as your schedule changes, and be flexible because you may have to change your writing habits out of necessity! Understand that writing is now one of your creative outlets/forms of expression so hone your craft, and ask questions that you are truly curious about and can imagine living with for the next ten years. Most tenuretrack professors have the expectation of creating a research agenda. Think of the large problems you want 6

to tackle and create many projects to better understand an issue. I reiterate this suggestion: work towards developing a clear line of inquiry and work to become an integral part of the conversation in this area in a way that your name is associated with a topic and, when people mention a topic, your name comes to mind.

Understand the Long Term Nature of the Research Process From the IRB applications to seeing it in print might take up to five years (or longer!) so be persistent and understand what is involved. o IRB application o Data collection o Data analysis o Write conference proposal o Present at conferences o Write full paper o Edit o Have multiple colleagues read and give you suggestions o Edit o Submit for publication (wait for 3 or more months) o Receive an acceptance/rejection letter or one that invites you to revise and resubmit o Revise and resubmit to same or different journal o Repeat until it is accepted While preparing a manuscript for submission, Dr. Colleen Conway, Professor of Music Education at the University of Michigan, advises her doctoral students to write which three journals you may choose to submit an article and in which order you would submit them. This helps them remember that this is a long process. It also reminds you that rejection and revise and resubmit letters are part of the publishing process so planning to be patient and persevere are embedded in the process. When preparing a manuscript submission for a different journal, it is important to take into consideration the mission of the journal and emphasize the parts of the project that best suit that audience. This may mean that discussion and implications change, the language you TMEC www.tmec.org Connections  Spring, 2015

use changes, or you may wish to bring out different findings. For example, Update: Applications of Research in Music Education is geared towards helping music teachers use the information in their classrooms. Therefore, less emphasis would be placed on method and theoretical framework and the scholarly writing should be completely understandable to music teachers (very little research jargon). On the other hand, Journal of Music Teacher Education is geared toward music teacher educators, and Journal of Research in Music Education reviewers would expect a more thorough discussion of theoretical framework and method. As a pre-tenured faculty member, I suggest you develop realistic projects that you can get published as quickly as possible. For example, publish your comprehensive exam papers, a paper from a graduate class, and/or a study completed while working on your doctorate. Also, publish your summary dissertation. Journals such as Journal of Research in Music Education (JRME) do not accept piecemeal publications but they do accept dissertation summary articles. TMEC Connections publishes member submissions and also has a Peerreview component for all music educator topics. (see submission information on page 9) Also, examine your own suggestions for further research. This may include (but is not limited to) using a new participant population, methodology, or theoretical framework to better understand the same problem, hypothesis, or phenomenon. You may also examine emergent findings in more depth to understand a related problem, hypothesis, or phenomenon. This is how you follow your line of inquiry and build a research agenda. Eventually, try to have multiple research projects running simultaneously and make sure they are in different stages: o o o o o o o o o

Idea (Keep a running idea document) IRB application Data Collection Data Analysis Conference Presentation Writing Full Paper—Preparing for Submission Articles in Submission Articles in press Articles in print

When roadblocks occur, such as you are waiting on IRB approval, you are waiting for a colleague to review your work and offer suggestions, or you have submitted an article for review, you can shift gears and use the set-aside time to work on another project. Sometimes it gets confusing, but it is rewarding and there is less stress related to annual review, third year review, and

tenure review when you know that you are prepared. Understand that Research and Service are Important Parts of your Job—It’s not Just about Teaching Anymore! Teaching, research, and service loads vary from school to school. Since each job is different, be sure to ask about percentage expectations, course loads, and how that is defined. as well as what are specific teaching, research, and service expectations. Teaching at a “Research Institution” often means that you have a 2/2 or 2/3 load, whereas teaching at a “teaching institution” might mean you teach a 3/3, 3/4, or 4/4. The usual definition assumes that you are teaching a 3-credit course. Therefore, “2”=6 credits, “3”=9 credits, and “4”=12 credits. Sometimes, supervising student teachers and leading student teaching seminar count as part of a teaching load and sometimes they do not. Sometimes graduate classes and conducting ensembles count more than the student credits and sometimes they do not. Check with your school during the interview to better understand the expectations of the job and check in with your chair about this periodically. Often, research institutions evaluate assistant professors 40/40/20, meaning 40% on teaching, 40% on scholarship, and 20% on service. That should be represented in your schedule. Focusing on teaching and service seem to come naturally for many music teacher educators. Conducting research/scholarly writing is the factor that needs more attention. I tell myself, “Pay yourself first,” meaning, make writing my priority, as that will make the difference in my career. I always focus on teaching and students but if I do not remind myself to research, I would easily put my students’, colleagues, and area teachers’ needs ahead of my research. Although this is not a 40-hour a week or 9-5 job, it is important to begin to ration out how you spend your work time. For instance, if we imagine that this is a 50hour a week position and you have a 40/40/20 job, it might look something like this: • 20 hours on teaching, preparing to teach, correcting homework, meeting with students, etc. • 15 hours on research (IF POSSIBLE, TAKE A DAY OR TWO A WEEK AWAY FROM SCHOOL TO WORK ON RESEARCH) • 5-8 hours on service • 2-5 hours going to recitals and concerts • 5 hours relating to colleagues If you spend more than 20 hours on teaching, then you need to make a conscious decision about how to balance your time. If you have a 50/30/20 position, then maybe

TMEC www.tmec.org Connections  Spring, 2015 7

you spend 25-30 hours on teaching and you will also have to readjust the other numbers according to your institutional expectations.

(Many more conference options are available. please feel free to contact me for other ideas.)

Regarding scholarship, I suggest you plan to devote most of the summer to your research, but do take a vacation or two, or three!!! This is especially important in the beginning of your career. Teaching summer courses or certification courses is tempting, as the extra money is helpful, but if there is a research expectation, summer writing time has been essential to me. Also, I work to write my syllabi during the summer. That leaves me time to focus on students and teaching related issues during the semester.

I suggest working to balance College, (University— avoid until after tenure, if possible), Local, State/ Regional, and National service obligations. Any one of these can take up all of your time so it is important to develop your service agenda, too. Hopefully, your administrators will protect you in the beginning, but this is another important aspect of the job that needs to be considered. However, I have not heard of an example when lack of service was the cause of someone being denied tenure. Therefore, I suggest keeping this in mind, but focusing on teaching and research.

Scholarship expectations vary as much as teaching loads do. Some positions have an expectation of two major research articles a year. Some prefer your scholarship include some publishing, but more conducting honors groups and presenting at State Conferences. Others want you presenting at your own state’s conference and then want national and international research conference presentations and publications. People have suggested to me to: • Publish research articles early and often • Balance single and co-authored works • Wait to write a book until after tenure. • When hired, find out the deadline for the state conference sessions and send in one, two, or three session proposals. • Plan for national conferences. Below is a partial list of conferences. 2015 Symposium on Music Teacher Education (SMTE) Sept. Odd Years Greensboro, NC (September 17-19, 2015) 500-words and 100-word abstract, Due in April, odd years 2016 NAfME Music Research & Teacher Education National Conference March or April Even Years, varies (March 17-19, 2016) 500 or 750-words, Due in October or December odd years Instrumental Music Teacher Educators (IMTE) or Mountain Lake Colloquium for Teachers of General Music Methods: May, Odd Years, Ohio/Virginia, 500-words, Due in December, 2014/ ML September, 2014 American Educational Research Association (AERA) ANNUAL CONFERENCE in April, locations vary April 16-20, 2015, Chicago, IL April 8 – 12, 2016, Washington, DC April 27 –May 1, 2017, San Antonio, TX April 13-17, 2018, NY, NY 2000-word Proposals due in mid-late July 8

Service

Form a Writing Group or Some Support System Since I was a doctoral student, I had writing buddies or writing groups. In these instances, I socialize at the beginning of sessions and, while working, I can bounce ideas around with someone when I need to, but I can also have dedicated time to write. Now, as an assistant professor, I have a writing group with a music theory professor and a music education professor. We meet every Friday afternoon from 1-4 with very few exceptions. It is protected time and having other people to whom I am accountable, helps me protect that time. This also appeased my concern about working on research off campus and having others wonder if work was happening. Some people like to work side by side at coffee shops, in libraries, in faculty centers, in an office, or at someone’s house. This can also be a virtual group. Sometimes people set goals and check in to see how each other is doing, or you can write at the same time and text, Facetime, call, etc. and check in during breaks or when someone has a question. Other groups choose to send each other their work and give constructive feedback to help keep each other on track. In summary, although every position is unique, writing and service obligations are commonly part of a music teacher educator’s job. Since most of us were K-12 music teachers in our previous careers, most of us are used to focusing on our students’ musical learning and personal development. However, this is no longer the only concern in our new careers, unless you have a purely teaching position. Therefore, understand the positions you are applying for and, if there is a writing expectation, be sure to make it a priority. These suggestions are just some ideas that have helped me during my transition into this new career. TMEC www.tmec.org Connections  Spring 2015

Peer-Review Editorial Committee Jacqueline Henninger, Chair Texas Tech University Michael Alexander Baylor University Lynn Brinckmeyer Texas State University Carla Cash Texas Tech University Susan Dill The University of Texas at San Antonio John Flohr Texas Woman’s University, Professor Emeritus Michele Henry Baylor University C. Dianne Mack Texas Southern University Charlotte Mizener Lamar University

Call for Papers for TMEC Connections The Peer Review Editorial Committee of TMEC Connections welcomes papers that provide a comprehensive review and critique of the research literature on a topic, clearly discussing possible implications for music education. Manuscripts reporting the results of original research of a philosophical, historical, or experimental nature that contribute to an understanding of music teaching and learning will also be evaluated for possible publication. Manuscripts must be comprehensible to music teachers untrained in research methodology and statistics. Thus, writing should be as free of research jargon and statistical terminology as possible. The manuscript text should be double-spaced and use a 12-point font. An abstract of 150 words should be included. Tables should be placed at the end of the manuscript or attached as separate files. Figures and drawings must be attached as camera-ready copies. The entire manuscript, including the abstract and any figures, drawings, tables, and references, should not exceed 15 pages. The author’s name, address and institutional affiliation should only appear on a separate cover sheet/title page. Any references to the author’s identity should be removed from the body of the manuscript to ensure anonymity in the review process. Authors of non-quantitative articles may follow APA style, The Chicago Manual of Style (16th edition, 2010), or A Manual for Writers of Term Papers, Theses, and Dissertations (K. L. Turabian, 7th edition, rev. by John Grossman & Alice Bennett, 1996). Quantitative manuscripts should adhere to recommendations made in the Publication Manual of the American Psychological Association (6th edition). The style chosen should be used consistently throughout the manuscript. Electronic copy submissions are preferred, although both electronic and hard copy submissions are welcome. If submitting hard copies, please send a separate title page, four copies of the manuscript, and four copies of an abstract to: Jacqueline C. Henninger Chair, Peer Review Committee, TMEC Connections Assistant Professor, Music Education School of Music Texas Tech University Lubbock, Texas 79409 [email protected]

Submissions accepted at any time for Fall, Winter and Spring Issues of Connections Electronic copies should be submitted via email as a word doc file format. The author’s name and institutional affiliation should appear only on a separate title page. Authors should retain a copy of the manuscript to ensure against loss. If the manuscript is based on a thesis or dissertation, a full bibliographic citation of the original work should appear on the title page. TMEC Connections follows the Research in Music Education Code of Ethics. As stated in the Code of Ethics, submitting a manuscript indicates that it has not been published previously and is not currently submitted for publication elsewhere, either in its entirety or in part. TMEC www.tmec.org Connections  Spring, 2015 9

TMEC Meetings and

NAfME Southwestwern Division President, James South and TMEC President Mackie Spradley visit before the a meeting.

TMEC Executive Secretary - Barb Stevanson, TMEC President - Mackie Spradley, NAfME President - Glenn Nierman, and NAfME Southwestwern Division President - James South just before the start of the TMEC board meeting.

TMEC and CTME members visit before the start of the CTME meeting. (left)

TMEC board members, CTME board members, TMEC Council of Chairs and NAfME guests during the joint meeting. (right)

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TMEC www.tmec.org Connections  Spring 2015

Convention Moments (left to right) TMEC Member-at-Large - John Zarco, NAfME Southwestwern Division President - James South, TMEC President - Mackie Spradley and TMEC President-Elect Angela Leonhardt.

(below) NAfME Southwestwern Division President - James South, and TMEC President - Mackie Spradley recognize and thank the outgoing CTME advisors, Robin Stein and Mollie Tower

James South addresses and shares some powerful thoughts with the Annual Meeting and Reception attendees. (above)

TMEC www.tmec.org Connections  Spring, 2015 11

Mentoring: Making Connections Through Music Education Charlotte P. Mizener

Professor of Music, Lamar Universtiy and TMEC Research Chair When Odysseus left for the Trojan War, he asked an old and trusted friend, Mentor, to advise and to take charge of the education of his son, Telemachus. “Mentor” has become the term commonly used to refer to one who advises and guides a less-experienced person. In recent years, an important issue in the field of music education has become the retention of students in music programs and of teachers of music in the schools. Mentoring appears to be a key factor in keeping students in music programs and keeping music teachers in schools. So, what is mentoring? When, in a career in music, might mentoring take place? Who benefits from mentoring? Here are some answers to these questions.

What is mentoring? The teacher-student relationship comprises many activities and purposes. Renshaw (2007) identified nine approaches to encouraging the development of a person engaged in learning about a particular field. He listed buddying, shadowing, counseling, advising, tutoring, instructing, facilitating, coaching, and mentoring. Mentoring is distinguished from the other approaches in that it is aimed at “sharing knowledge and encouraging individual development.” (p. 2). Personal and professional development in a wider context and over a longer period of time is among the goals of mentoring. The author continues to describe features of mentoring. He identifies the main elements of the mentoring process, the key qualities of a mentor, and the relationship between the mentor and the musician (Renshaw, 2007). In shaping the mentoring process, the mentor should first establish a safe, supportive environment. Second, the mentor should guide the mentee in reflective practice, in which he or she develops habits of self-observation and self-review in order to evaluate his or her actions and plan for future actions. Third, the mentor helps the mentee cultivate reflexive practice, in which he or she becomes aware of how personal motivation, values, and emotions directs his or her professional practice. 12

According to Renshaw (2007), a mentor should possess several qualities. The mentor should have experience in the field, strong interpersonal skills, an understanding of what it is to be a musician, language skills that allow for clear communication, the ability to be self-reflective, and an open and non-judgmental attitude toward the mentee. The author goes on to describe several features of the relationship between the mentor and the mentee in a musical setting. The mentor should understand that much of the communication will be more through music and less through verbal, analytical, and reflective processes. Respect for the mentee’s personal and professional skills and potential are also necessary. Mentor and mentee must establish a relationship of confidentiality and trust, and they must have a mutual understanding of their roles, responsibilities, and expectations. Finally, Renshaw sees the mentoring relationship as having a beginning and an end. He pictures it as being distinct from a peer professional relationship or a peer mentoring situation.

When does mentoring take place?

There are many stages in musicians’ careers in which they may take part in a mentoring relationship. One of the first mentoring relationships that young musicians may experience is the teacher-student relationship in private applied lessons. At the EC-12 level, students may develop mentoring relationships with ensemble directors and with music classroom teachers. In higher education, students continue to form relationships with applied teachers, ensemble directors, and other professors. In addition, there is also the mentoring relationship between student teachers and their cooperating teachers. Once they have become in-service teachers, they may then identify experienced teachers on whom they may rely for advice and guidance in their early years of teaching. Some school districts have formal mentoring programs for new faculty members. Similarly, mentoring is an important feature of new faculty training at the university level. Finally, as those TMEC www.tmec.org Connections  Spring 2015

young educators mature and achieve success, they become the mentors for the next wave of musicians and teachers. Along the way, peer mentoring may also occur at any stage. For many music educators, the first mentor was an applied lessons teacher. In a private lesson setting, the teacher and the student often develop a close relationship both musically and personally. The student looks to the teacher not only for technical training in music but also for guidance and support in terms of professional musical direction. In a study of the teacher-student mentoring relationship in a conservatory setting, Gaunt, Creech, Long, and Hallam (2012) proposed that true mentoring leads students to becoming more responsible for their musical and professional development. Furthermore, it helps students expand their creative powers and artistic skills as well as define their professional aspirations. As music students progress, they begin to look to their school music teachers for advice and guidance. Bergee, Coffman, Demorest, Humphreys, and Thornton (2001) found that students’ decisions to enter the profession of music education were strongly influenced by school music teachers. High school ensemble teachers were most often cited as being influential, but many students noted that middle school and even elementary school music teachers had shaped their choices to teach music. This study did not focus on formal mentoring practices, but it does show how students look to their music teachers as guides and role models. In a study of a formal mentoring program, Shield (2001) found that at-risk sixth-graders in an arts-based alternative school experienced increased musical skills and an increase in appropriate social behavior during the mentoring period. In addition, the mentoring teachers experienced personal rewards because of the improvements in the behaviors of the students. VanWeelden (2011) recommends pairing a student with special needs with another student in the class who is willing to take on additional responsibilities. The student with special needs benefits by having immediate support and assistance, and the mentoring student benefits from the opportunity to develop leadership skills. The American Choral Directors Association has established a mentoring network for choral music educators and students (Aamot, 2014). It has done so in response to the unique challenges that face the profession today. Those challenges include diversity in the communities served by the schools, a decrease in funding for the arts, and the vocal models that choral music educators must address. In addition, choral directors

must consider the expectation of using a wider variety of global literature and even the concept of vocal and choral sound that may be different from that to which they are accustomed. Programs of mentoring can help students considering careers as choral directors, as well as in-service directors, prepare for dealing with those issues and many others. At the secondary school level, informal mentoring may take place among members of an ensemble. Goodrich (2007) reported on the informal peer mentoring that occurred among students in a high school jazz band. The students collaborated in such activities as transcribing music and tutoring one another in techniques for playing their instruments. At this particular school, the band director systematically established a mentoring system among the older students so they were prepared to mentor the incoming students in the fall. Once students have made the decision to study music at a college or university, they continue to develop relationships with applied lessons teachers, ensemble directors, and other professors. Opportunities for peer mentoring become more and more available. Gaunt et al. (2012) addressed peers as mentors in a conservatory setting and mentioned how some students established co-mentoring connections with a single student such as a roommate, with a small group of students who meet regularly to practice together, and with a large group of students in choir rehearsal. The author recommended that teachers facilitate co-mentoring relationships between and among students. Also at the undergraduate level, a notable mentoring relationship is that between student teachers and their cooperating teachers. Edwards and Dendler (2007) discuss the mentoring role that cooperating teachers play for their student teachers. Cooperating teachers model effective teaching methods, demonstrate the importance of listening to and understanding all parties in a conversation, and give advice and make suggestions in the spirit of mentoring and not in an attempt to criticize. They note that respect among the three parties, student teacher, cooperating teacher, and university supervisor, is vital. The importance of mentors becomes most critical when a student makes the transition from pre-service teacher to in-service teacher. Having a mentor in the first several years of teaching can make the difference between a person who succeeds at a career in music education and a person who chooses another career.

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In a review of the literature, Benson (2008) found that mentoring was closely associated with giving novice teachers emotional support, a vital factor in a new teacher’s decision to continue in the profession. The line between support and evaluation, however, is an issue that mentors must consider in their relationships with mentees. Conway and Holcombe (2008) comment that mentors should take care to avoid being judgmental in their observations of mentees. Peer mentoring among first-, second-, and third-year teachers was found to be very effective in supporting beginning teachers through the first few years of their careers. Bell-Robertson (2014) learned that a researcherfacilitated online community in which novice music teachers posted their thoughts and comments regularly was very helpful in offering the participants vital emotional support, giving them an outlet for frustration as well as a forum for discussing philosophical issues related to the profession, and serving as a way to help others. In addition, Conway and Holcombe (2008) found that when experienced EC-12 teachers served as mentors to those with less experience, the mentorship became a faculty development activity. Several of the mentors taking part in the study remarked that they had become better teachers through the mentoring experience. The issues related to the mentoring of new university faculty members are similar to those found in EC12 school settings. New faculty members are more successful when they develop professional relationships with experienced faculty members who can guide them through a network of unfamiliar expectations. Austin Community College in Austin, Texas, has established a Faculty Mentor Program that systematically describes criteria for serving as a mentor, a method of pairing mentors and mentees, and a year-long program of activities in which the pair should participate. Topics that mentors discuss with junior faculty members include publication, grant application, teaching-related topics, and tenure and promotion. Carillo and Baguley (2011) noted the importance of mentoring in the transition from schoolteacher to junior faculty member at a university. They go so far as to recommend creating communities of practice involving school teachers and university faculty members. Participants should begin taking part in these communities of practice in their undergraduate educator preparation programs.

in a mentoring program, and the processes of mentoring, may be neatly compartmentalized. The truth of the matter is, however, that there is potential for overlap throughout the process. Among groups of mentors, members may themselves mentor one another as they strive to mentor their assigned mentees (Conway & Holcombe, 2008). A mentee, in the process of developing his skills in teaching, may serve as mentor to less experienced teachers (Schmidt, 2008). The mentoring relationship may be similar among mentors and mentees as teachers and students in studios, in classrooms in EC-12 schools, and in university classrooms and rehearsal halls. Likewise, mentoring relationships between more experienced and less experienced teachers can be parallel in EC-12 schools and universities. Students and teachers at any level can work together in shared practice communities for their own musical or pedagogical growth and progress. Clearly, there is a wealth of information regarding the benefits for all those participating in mentoring programs. There is also extensive information regarding planning and implementing mentoring programs. All members of the music education profession, including EC-12 students, college students, and teachers at all levels, can only gain from actively participating in a mentoring relationship.

From the above discussion, it may appear that the various facets of mentoring, including the mentor and mentee, the stages at which people may participate

Benson, M. A. (2008). Effective mentoring for new music teachers. UPDATE: Applications of Research in Music Education, 26(2), 42-49.

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References Austin Community College’s Faculty Mentor Program http://www.austincc.edu/hr/profdev/mentoring.php (Retrieved March 16, 2015). Aamot, K. (2014). Recruiting, training, and mentoring vocal music educators to make a difference. Choral Journal, 55(5), 71-72. Bell-Robertson, C. G. (2014). Staying on our feet: Novice music teachers’ sharing of emotions and experiences within an online community. Journal of Research in Music Education, 61(4), 431-451. doi:10.1177/0022429413508410 Bergee, M. J., Coffman, D. D., Demorest, S. M., Humphreys,J. T., and Thornton, L. T. (2001). Influences on collegiate students’ decision to become a music educator. (Summary available on the MENC Web site at http://www.menc.org/networks/rnc/Bergee-Report. html)

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Carillo, C. & Baguley, M. (2011). From school teacher to university lecturer: Illuminating the journey from the classroom to the university for two arts educators. Teaching and Teacher Education, 27(1), 62-72. Conway, C., & Holcomb, A. (2008). Perceptions of experienced music teachers regarding their work as music mentors. Journal of Research in Music Education, 56(1), 55-67. Edwards, K., & Dendler, D. (2007). Mentoring student teachers in the music classroom. Music Educators Journal, 93(5), 44-50. Gaunt, H., Creech, A., Long, M., & Hallam, S. (2012). Supporting conservatoire students towards professional integration: One-to-one tuition and the potential of mentoring. Music Education Research, 14(1), 25-43. doi:10.1080/14613808.2012.657166

Renshaw P. (2007). Lifelong learning for musicians: A framework for mentoring musicians (Lectorate: Lifelong Learning in Music, Prins Claus Conservatoire, Groningen and the Royal Conservatoire, The Hague, The Netherlands) (www.lifelonglearninginmusic.org) Schmidt, M. (2008) Mentoring and being mentored: The story of a novice music teacher’s success. Teaching and Teacher Education. 24 (3), 635-648. DOI: 10.1016/j. tate.2006.11.015. Shields, C. (2001). Music education and mentoring as intervention for at-risk urban adolescents: Their self-perceptions, opinions, and attitudes. Journal of Research in Music Education, 49(3), 273. VanWeelden, K. (2011). Accommodating the special learner in secondary general music classes. General Music Today, 24(3), 39-41. doi:10.1177/1048371310396707

Goodrich, A. (2007). Peer mentoring in a high school jazz ensemble. Journal of Research in Music Education, 55(2), 94-114.

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A Critical Conversation on Assessment and Accountability in Public School Fine Arts Programs Christopher T. F. Hanson

Orchestra Director for San Marcos CISD and TMEC K-12 General Music and MIOSM I am writing this article to raise questions and encourage conversations amongst colleagues on the current purpose and functionality of both assessment and accountability of fine arts educators in public schools. It is my personal and professional opinion that the conceptual structure and subsequent needs of assessment and accountability pose serious issues for students, teachers, and administrators alike. Through the challenging tasks of defining, realizing, developing, synthesizing, and utilizing assessment and accountability in fine arts education, administrators and teachers are being found deficient. Systemically, evaluation in public education from student and teacher assessments to government and administrative accountability is framed by what is lacking. Whether it is funding, resources, requisite knowledge, or potential performance outcomes, accountability and its measures of assessment are focused on deficit. Although a strong case can be made on the socio-political and economical explanations for such thinking in practice, I would argue that the state of assessment and lack of satisfying accountability stems from a confusion of the terms and their function in identifying and achieving learning in fine arts classrooms.

semantic dispute, while implementation of the design moves forward.” In spite of the recent STEAM1 and cross-curricular initiatives, the general perception of public education is driven by standards in “content” areas or “core curriculum,” which reduces education to the three R’s: reading, writing and arithmetic. This is problematic for accountability and assessment in the fine arts particularly because the subjects of performing and visual arts are “elected” in the most pejorative sense of the word as subsidiary courses to the dominating “state assessed” mandated courses discussed above. While running the risk of being labeled an impassioned music teacher who does not understand the strain of state assessment and who should appreciate the freedom given to my classroom by not being subjected to the rigorous assessment and standards of my colleagues in other subjects, I would posit that a lack of assessment is equally as harmful as poorly constructed and over utilized assessment.2 Such a statement is not asking for a standardized testing for the arts (far from it), but rather, as pointed out by Turner, an escape from semantic battles of definitions and terminology to establish responsibility and measurable achievement in arts education with the expressed purpose of celebrating success.

Teri Turner in her article “Accountability: A Mosaic Image” (1977) discusses the difficulty of defining accountability through the frequently cited, “who is responsible for what, and to whom?” She continues by suggesting “The slipperiness of the concept encourages relegation of definitional problems to the status of

In the article “Issues in Assessing Teacher Accountability in Public Education,” published early in the national dialogue that emerged in the nineteen-seventies on accountability in public education, Rosenshine and McGaw (1972) unpack the issue further.

1. The founder of this initiative is Georgette Yakman, who in addition to raising the idea of adding the arts to the STEM acronym, claims to have found a formal way to link the subjects together and correspond them to the global socioeconomic world. Her defining sentence is: “Science and Technology, interpreted through Engineering and the Arts, all based in elements of Mathematics” - (C/TM 2007). This information was taken from the Wikipedia article on “STEAM Fields.” 2. The phrasing of this sentence comes from personal experiences. On many occasions I have been reprimanded by administrators and colleagues for not understanding the rigor and challenges for courses that “suffer” standardized forms of assessment, and requested to (and on some occasions told to) be grateful for the lack of such assessment within my own curriculum. 16

TMEC www.tmec.org Connections  Spring 2015

It might be realistic to assume that students, teachers, administrators, parents, publishers, educators, and the general public are each accountable for some aspect of educational program. But if each group is responsible, how can we determine which part of a child’s mathematics achievement, for example, is attributed to each of the parties? Any attempt to use accountability should make us painfully aware of the inadequacy of our educational knowledge. The tragedy is that we seem to move from innovation to innovation, failing to conduct, synthesize, and disseminate the research about each change. Although this article is dated, the need for clearly defined parameters of success in public education is still desired today to facilitate meaningful assessment and ultimately measurable improvement in student performance.

with control and is represented by productivity, who has control, and more importantly, who gives it within the arts classroom? How do we utilize such knowledge to improve the standards of teaching and learning within the arts classroom? More importantly, how do we use a standardized form of assessment to generate accountability that should ultimately enhance student learning within the arts?

References Lessinger, T. Accountability, Productivity and Control. The High School Journal, 60, 4, 151-157. McGaw, B. & Rosenshine, B. (1972). Issues in Assessing Teacher Accountability in Public Education. The Phi Delta Kappan, 53, 10, 640-643

Turner, T. (1977). Accountability: A Mosaic Image. The In discussing accountability and assessment associated High School Journal, 60, 5, 235-237. with the arts thus far, I feel the need to clarify two major points: 1) I do not want to suggest that fine arts classrooms are a place in which students do whateverthey please as teachers sit at their desks unobservantly; and 2) I do not want to suggest that fine arts education is void of any assessment tools. Rather, I argue that the deficiencies of the assessment strategies in place inhibit the assessment and accountability desired to honor the incredible standards of teaching and learning that is taking place in arts classrooms. With what seems to be a corrupt For elementary, middle, and high school and repudiated system of students in band, choir, and orchestra accountability, where does one start to manifest meaningful assessment in education? Leon Lessinger (1971) states “the heart of accountability or call: 1-855-766-3008 is control and its face is productivity.” These are truly poignant words which come from a pivotal time in the development and establishment of accountability in the field of education, but here in lies the paradox: if, as Lessinger suggests, accountability starts

www.SMMFestival.com

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CTME Corner

By Mercedes Gonzalez

CTME officers with guest speakers Brigitte Smith and Mackie Spradley.

CTME President, Texas State University My Name is Mercedes Gonzalez and I am the President of the Collegiate Texas Music Educators. CTME is an organization that strives to get more college-going people involved with music education while also helping up-andcoming music educators succeed. We strive to provide opportunities for networking and also provide access to wonderful information that will help educators in the future. The CTME officers host two events every year at the Texas Music Educators Association Convention. Last year, we held a Leadership Summit that consisted of two presentations (speakers and CTME officers pictured above). Brigitte Smith, the Goodnight Middle School Choir director, gave a wonderful presentation on “Things You Didn’t Know You Needed To Know When Teaching in Public Schools”. It consisted of many tips and tricks on situations that happen in public schools that you do not necessarily learn about when preparing to become a teacher. We also had a presentation from Dr. Mackie Spradley, President of the Texas Music Educators Conference and Coordinator of Secondary Choral/General Music Studies in Dallas Independent School District, about the differences between teachings in a rural school versus teachings in an urban school. She gave amazing insight on exactly what a music educator needs to know when having to teach in environments that may not be comfortable for them. In addition to the Leadership Summit, we also had a business meeting where we discussed the changes 18

made to the CTME bylaws and constitution and we elected our new office members. For the position of Secretary/Treasurer, we have elected a student from Texas Christian University, Victoria Sanchez. For our Outreach/Chapter Coordinator, we elected a student from the University of Texas at San Antonio, Jyron Joseph. As the year progresses, the officers and I will be preparing for our events at TMEA and also discovering new ways to get more students involved with music education. I am so excited to be a part of this organization. I cannot wait for it to grow and with the help of our advisor, Amanda Soto, we are sure to be an organization that you will not want to miss out on. If we can help with anything, please reach out to one of the CTME officers: President: Mercedes Gonzalez Email: [email protected] Phone Number: (512)-296-1984 School: Texas State University Secretary/Treasurer: Victoria Sanchez Email: [email protected] Phone Number:(214)-893-3244 School: Texas Christian University Outreach/Chapter Coordinator: Jyron Joseph Email: [email protected] Phone Number: (504)-952-2090 School: University of Texas at San Antonio TMEC www.tmec.org Connections  Spring 2015

Creating Powerful Tools Through PowerPoint -Part One

By Brian VanDeWalle

Elementary music teacher Austin ISD and TMEC Technology Chair There are so many ways to bring technology into a classroom. Our last technology article brought us information about SmartBoards in the music room. I am at a school that does not have SmartBoards. The programs and activities for SmartBoards can indeed be used on any computer, and I use them myself from time to time in my classroom. Another option to bring technology to the big screen is through a program that you probably already have.

PowerPoint is a basic program that has some very powerful tools. Like any program, what you do with it in your classroom will be determined by how comfortable you are with using it. The key is to start with basic presentations. To start, simply open PowerPoint on your computer. When it opens you will see a blank white screen with two boxes for a title and subtitle. These are placed automatically and can be deleted or moved. You can add your own textboxes by using the tool bar at the top of the screen. From here you can easily add pictures, sound or video clips and any information to the presentation by using the insert tab at the top of the screen. Once you are ready to add a new slide you can click on the “New Slide” button under the “Home” tab. You can create as many slides as you would like for your presentation. There are a few things to keep in mind when creating a successful presentation.

I utilize PowerPoint in my classroom on a daily basis. It is one of the things that has become second nature to me. It is also one of the things that I am asked about by other teachers on a regular basis. PowerPoint presentations can be as simple or as complex as you want them to be. In my room we use a range of different types. Our rhythm cards were created in a simple PowerPoint presentation while some of our review games (ex. Music Memory) are done with more complicated design. I always suggest that teachers become familiar with PowerPoint. What about those who are already familiar with the program? There is always more to learn that can enhance your lessons. Rhythm Card Examples

Keep your slides simple and basic. The slides should not be a distraction for your students. PowerPoint offers a variety of templates and design options. Most are perfectly usable for classroom situations. Choose your fonts carefully. There are a lot of cute and cool looking fonts out there in cyber space. Using them in titles can be ok, but if you are going to be putting information on the slide for students to read (or read along) it is better to use simple fonts. Arial and Calibri are always good choice and are easy to read. If the students struggle to read what you have created then the presentation is no longer as valuable. Font size is also an area that is often over looked. Making the font too small can make the message hard to read. The good thing is that if you need more space you can always add another slide. Feel free to use clipart and images to decorate and bring interest to your presentation but do not overdo it. Too many decorations and you create a slide that is a huge distraction.

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An area that is often overlooked is the use of contrast. Black text on a white background is always going to be the best option. This can also be a bit boring. Play with your color options. While experimenting with colors keep contrast in mind. Make sure that your choices are easy to read and do not cause students to strain their eyes to see what it is that you want them to see. My uses of PowerPoint in the classroom range from pretty simple to more complex. For the purposes of this article I will share a very simple way to use PowerPoint in the general music classroom. Every day in my classroom my younger students start with a fun activity (dance, game etc.) followed by some melodic or rhythm reading review. This review activity was one of my first uses of PowerPoint in my classroom. Previously, I tried a variety of methods when reviewing and reading rhythm patterns. Writing the rhythms on the chalkboard was a start. This worked but I was unhappy with the ability for all students to clearly see what was written. This took more time than I wanted as I had to erase rhythms and change them. I then tried to use large flashcards with the rhythms written on them. These worked well, but keeping them in the order that I wanted them to be read in was also time consuming. It was always fun to accidently drop the cards and have to put them back in order while twenty four 8 year olds watch and giggle as I scrambled to get things put back in order. This brought me to PowerPoint. With PowerPoint I created a series of slides that I could project large enough for all my students to read and they were always in order. It also meant that I could switch from one rhythm to another with the simple click of a button. No erasing and no rewriting. To create these rhythm cards I used a basic template of a colored border with white on the inside. I used a free font to create the rhythm patters, Bach Musicological Font. You can download this font for free by going to http://www. mu.qub.ac.uk/tomita/bachfont/ 20

As I started using some simple rhythms through PowerPoint and experienced success with my students I added more rhythms to the same file. Currently my file has 64 different rhythms in order of difficulty and grade level. As I continued to experiment with PowerPoint I created more unique add-ons for lessons. Some included

PowerPoint Slide - rhythm example with audio

highlight presentations that could be used as review or accompaniment to a lesson and some turned into games for review of certain concepts or units. My students particularly enjoy our Music Trivia Game that I created as a review for our Music Memory program. The game was designed in a fashion similar to Jeopardy and uses questions that include listening clips for aural identification. It is one of the most popular activities we use in class and has been a staple of our Music Memory program. I strongly encourage anyone with access to PowerPoint to begin exploring some possibilities. I will explore some more options and useful PowerPoint tools in our next article.

TMEC www.tmec.org Connections  Spring 2015

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