Musician Vol. 69 No. 3

The Official Publication of the Tennessee Music Education Association
The Path to Mastery
by Colin Hill
p. 8
Music Teaching and
Mindfulness
by Frank Diaz
p. 14
TMEA Professional
Development
Conference Preview
p. 37
VOLUME 69, NO. 3

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TENNESSEE MUSICIAN EDITORIAL STAFF
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TABLE OF CONTENTS | 2017 | VOLUME 69, NO. 3
TMEA President’s Message 4
Johnathan Vest, Ed. D.
TMEA - By the Numbers/Verbatim 7
Matthew Clark
FEATURED ARTICLES
The Path to Mastery 8
Colin Hill, DMA
Music Teaching and Mindfulness 14
Frank Diaz, Ph. D.
TMEA State General Music Chair’s Message 21
Linzie Mullins
TMEA State Choral Chair’s Message 22
W. Fitzgerald Patton
TMEA State Orchestra Chair’s Message 23
Michelle Clupper
TMEA State Band Chair’s Message 25
David Chipman
TMEA State Higher Education Chair’s Message 27
Ryan Fisher, Ph. D.
TMEA State Collegiate NAfME Chair’s Message 28
Jennifer Vannatta-Hall, Ed. D.
TMEA State Educational Technology Chair’s Message 30
John Womack
TMEA Society for Music Teacher Education/
Research Chair’s Message 32
Jamila McWhirter, Ph. D.
TMEA Advocacy and Government Relations Chair’s Message 34
Christopher Dye, Ed. D.
TMEA PROFESSIONAL DEVELOPMENT CONFERENCE PREVIEW
TMEA Professional Development Schedule 37
TMEA Selected Performance Groups 39
TMEA All-State Ensemble Information 40
Tennessee Musician Advertiser Index 47
TMEA Back Then 48

TMEA BOARD AND COUNCIL
TMEA OFFICERS 2016-2017
TMEA EXECUTIVE DIRECTOR:
Ron Meers
execdirector@tnmea.org
TMEA PRESIDENT:
Johnathan Vest, Ed. D.
president@tnmea.org
TMEA PRESIDENT-ELECT:
Lafe Cook
pres-elect@tnmea.org
TMEA PAST-PRESIDENT:
Jeff Phillips, Ed. D.
jeffrey.phillips@sumnerschools.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
BOARD OF DIRECTORS
TMEA STATE GENERAL MUSIC CHAIR:
Linzie Mullins
genmusicchair@tnmea.org
TMEA STATE CHORAL CHAIR:
Gerald Patton
pattong@rcschools.net
TMEA STATE ORCHESTRA CHAIR:
Michelle Clupper
michelle.clupper@knoxschools.org
TMEA STATE BAND CHAIR:
David Chipman
banddir@bellsouth.net
TMEA STATE HIGHER EDUCATION CHAIR:
Ryan Fisher, Ph. D.
rfisher3@memphis.edu
TMEA COUNCIL
WTGMEA PRESIDENT:
Linzie Mullins
genmusicchair@tnmea.org
WTGMEA PRESIDENT-ELECT:
Information not received
WTVMEA PRESIDENT:
Lalania Vaughn
lvaughn@rebelmail.net
WTVMEA PRESIDENT-ELECT:
Christopher Davis
davischristophert@gmail.com
WTSBOA PRESIDENT:
Stephen Price
prices@gcssd.org
WTSBOA PRESIDENT-ELECT:
Ollie Liddell
ollie_liddell@hotmail.com
MTGMEA PRESIDENT:
Alexis Yatuzis-Derryberry
derryberrya@rcschools.net
MTGMEA PRESIDENT-ELECT:
Information not recived
MTVA PRESIDENT:
Michael Choate
choatem@pcsstn.com
TMEA STATE COLLEGIATE NAFME CHAIR:
Jennifer Vannatta-Hall, Ed. D.
jennifer.vannatta-hall@mtsu.edu
TMEA STATE EDUCATIONAL
TECHNOLOGY CHAIR:
John Womack
webmaster@tnmea.com
TMEA PUBLICATIONS EDITOR AND
ADVERTISING MANAGER:
Michael Chester
editor@tnmea.org
TMEA PUBLICATIONS ASSOCIATE EDITOR:
Justin Scott
justin.scott@tcsedu.net
TMEA ADVOCACY AND GOVERNMENT
RELATIONS CHAIR:
Christopher Dye, Ed. D.
christopher.dye@mtsu.edu
MTSBOA PRESIDENT:
David Aydelott
president@mtsboa.org
MTSBOA PRESIDENT-ELECT:
Debbie Burton
dlburton98@gmail.com
ETGMEA PRESIDENT:
Margaret Moore
mamcmoore57@aol.com
ETGMEA PRESIDENT-ELECT
Marcus Smith
marcus.smith@knoxschools.org
ETVA PRESIDENT:
Kenton Deitch
kenton.deitch@knoxschools.org
ETVA PRESIDENT-ELECT:
Stephanie Coker
scoker@acs.ac
ETSBOA PRESIDENT:
Gary Wilkes
gwilkes428@gmail.com
ETSBOA PRESIDENT-ELECT:
Alan Hunt
ahunt@bradleyschools.org
ALL-STATE MANAGEMENT TEAM
TN ALL-STATE CHORAL GENERAL CHAIR:
Amanda Ragan
aragan@ortn.edu
ENSEMBLE CHAIRS
TREBLE HONOR CHOIR CHAIR:
Tiffany Barton
tntreblechoir@gmail.com
TN ALL-STATE SATB ENSEMBLE CHAIR:
Lauren Ramey
lauren.ramey@wcs.edu
TN ALL-STATE SSAA CHORALE ENSEMBLE CHAIR:
Amanda Short
amandalovellshort@gmail.com
TN ALL-STATE TTBB CHORUS ENSEMBLE CHAIR:
Johnny Kimbrough
johnny.kimbrough@jcseagles.org
TN ALL-STATE 9TH - 10TH GRADE STRING
ORCHESTRA CHAIR:
Andy Smith
andy.smith@sumnerschools.org
PROJECT CHAIRS
TMEA MEMBERSHIP CHAIR:
Position unfulfilled at this time
TMEA GUITAR EDUCATION CHAIR:
Chip Henderson
paul.henderson@mtsu.edu
TMEA JAZZ EDUCATION POLICY CHAIR:
Richard Ripani
richard.ripani@mnps.org
TMEA SOCIETY FOR MUSIC TEACHER
EDUCATION CHAIR:
Jamila L. McWhirter, Ph. D.
jamila.mcwhirter@mtsu.edu
TMEA MUSIC MERCHANTS
INDUSTRY CHAIR:
Rick DeJonge
rick.dejonge@khsmusic.com
TN ALL-STATE INSTRUMENTAL
GENERAL CHAIR:
Martin McFarlane
martin.mcfarlane@tcsedu.net
TN ALL-STATE 11TH - 12TH GRADE SYMPHONIC
ORCHESTRA CHAIR:
Jessica Peck
peck_j@hcde.org
TN ALL-STATE 9TH - 10TH GRADE CONCERT
BAND CHAIR:
J.R. Baker
john.baker@rcstn.net
TN ALL-STATE 11TH - 12TH GRADE CONCERT
BAND CHAIR:
Carter Noblin
noblinc@wcschools.com
TN ALL-STATE JAZZ BAND CHAIR:
Cord Martin
corderyl.martin@gmail.com
TMEA WEBMASTER:
John Womack
webmaster@tnmea.org
TMEA TRI-M CHAIR:
Todd Shipley
todd.shipley@mnps.org
TMEA MUSIC IN OUR SCHOOLS
MONTH CHAIR:
Tiffany Barton
tntreblechoir@gmail.com
TMEA HISTORY AND ARCHIVES CHAIR:
Position unfulfilled at this time
TMEA RETIRED TEACHERS CHAIR:
Bobby Jean Frost
bjfrost@aol.com
2 | TENNESSEE MUSICIAN | 2017 | Volume 69, No. 2

Compose
Your Future
Performance, Education,
Jazz Studies
● Bachelor of Music in
Music Education
(Five-year program)
● Bachelor of Music in
Performance
(Four-year program)
● Bachelor of Music in
Jazz Studies
(Four-year program)
Complete information
can be found on the
ETSU Department of
Music website under
“Degree Programs.”
www.etsu.edu/music
Department of Music
Department of Music
PO Box 70661
Johnson City, Tennessee 37614
423-439-4276

TMEA PRESIDENT’S MESSAGE
Johnathan Vest, Ed. D.
My vision is for TMEA to be a powerful force
for music education in this state, and I think
we are well on our way there.
ADVOCATING FOR US ALL
Greetings and welcome to the 2017 TMEA All-State and Professional
Development Conference! I always look forward to this
time of professional rejuvenation, filled with educational sessions
and inspiring music from our talented educators and students
across the state. I want to thank all of our officers and our
INCREDIBLE new state chairs for their vision and leadership.
Having a healthy organization means having people in place that
will do their job and do it well!
We continually try to make improvements to our conference,
and this year is no exception. After last year’s learning curve, we
have made a few changes to our conference. First, the Treble Honor
Choir will perform Saturday morning before the band and orchestral
concerts. This will hopefully accomplish two things: 1) allow
more general music teachers to participate (and it has!) by putting
the concert on the weekend rather than the middle of the week, and
2) shorten our opening session to allow for a more focused time
together. Next, we have moved our exhibit hall performances out
of the exhibit hall and into the conference space. These “Spotlight
Performances” will now be located in the Ryman area, where most
of the professional development sessions will take place. This will
hopefully allow for larger audiences for these groups, as well as put
them in a space that is more acoustically appropriate. Finally, and
most notably, our all-state performances will take place in the Presidential
Ballroom. As you know, we needed to book enough hotel
rooms not to be penalized for this space. I appreciate so many of you
supporting this effort by choosing to stay at the conference hotel.
Having a performance venue of this quality is crucial, I believe; our
students deserve it, and we deserve it.
As we move forward as an association, I truly believe that it
will be as an advocacy organization. TMEA will continue to work
with NAfME on national policy issues, and with our lobbying
firm and on the hill in Nashville. My vision is for TMEA to be a
powerful force for music education in this state, and I think we
are well on our way there. (I hope this means we may be able to
hire a part-time staffer in the future to assist with these efforts).
Advocacy, however, doesn’t only refer to policy issues. Next year,
the new music standards for our state will be rolled out. In this
sense, advocacy means making sure all of us are educated on and
prepared for these new standards. In the near future, TMEA (and
its regional associations) will be forming task forces across the
state to assist in creating training, lesson plans and informational
sessions on the new standards. For the 2018 TMEA Conference,
we will be looking for professional development seminars that attend
to these new standards. My hope is that, by the time of implementation
of the standards in Fall 2018, we will have a repository
of lesson plans and teaching tools to assist our members as they
make that transition from “old to new.” There is always a little bit
of trepidation when implementing something new, but if we prepare,
I’m confident that this will be beneficial to our students and
us. I’m so thankful to Dr. Dru Davison, as well as all of the talented
TMEA members on the writing team, for making sure that these
standards reflected our educational priorities for our students.
This is an exciting time for TMEA! I couldn’t be more proud
to be a representative for you in this organization. Again, please
email me at president@tnmea.org if you have any questions or
concerns you would like to voice. Enjoy the conference!
ELEMENTARY, MIDDLE, AND HIGH SCHOOL
BAND, CHOIR, AND ORCHESTRA
2017:
April 21-22
April 28-29
May 5-6
2018:
April 20-21
April 27-28
May 4-5
www.SMMFestival.com
or call:1-855-766-3008
4 | TENNESSEE MUSICIAN | 2017 | Volume 69, No. 3

2017 Electronic Music
Composition Competition
The NAfME Electronic Music Composition Competition recognizes outstanding
compositions and highlights the effectiveness of music technology in the school
curriculum. Entries will be judged based on their aesthetic quality, use of electronic
media, and the power of the composition.
Association member adjudicators will select a winner in each of the following
categories:
1. Grades K-8
2. Grades 9-12
3. Collegiate
• Each entrant must be sponsored by a NAfME member teacher, or be a NAfME
Collegiate member in good standing.
• Compositions should be 5 minutes or less and should either be composed
electronically or include electronic instruments (vocal and/or acoustic
instruments may be combined with electronic instruments)
Entries must be received by April 1, 2017
All Applicants will be notified mid-June
bit.ly/NAfMECompetitions
6 | TENNESSEE MUSICIAN | 2017 | Volume 69, No. 2

BY THE NUMBERS
by Matthew Clark
THE 89TH ACADEMY AWARDS SPOTLIGHT
VERBATIM
From the film La La Land, “City of Stars” by Justin Hurwitz,
Benj Pasek, Justin Noble Paul won Best Original Song, beating
out songs by noted artists Justin Timberlake, Sting, and
Lin-Manuel Miranda.
No. 1 Singles
“CITY OF STARS”
There have been forty-one [41]
Billboard Hot 100 No. 1 singles
nominated for the Academy
Award for Best Original Song.
Twenty [20] Oscars ceremonies
have seen the highest-charting
Hot 100 hit among nominees
win the award.
Justin Timberlake, on writing a song
specifically for a film: “What’s different
about this is that it’s not even like writing
just a song for a movie, it’s writing a
song for characters who are going to sing it
in the movie.”
Sting, on writing the song “The Empty Chair”
for the film Jim: The James Foley Story: “The
stakes are higher when you’re writing about a
person who really existed, a person with family
and friends you want to honor,” [Sting] told
Billboard. “I’m glad I found the metaphor of
the empty chair... I curated the song from what
[Jim’s] family and friends said about him. It’s
their song.”
Lin Manuel-Miranda, on writing the song “How
Far I’ll Go” for the film Moana: “The way I wrote
the lyrics is I went back to my parents’ house and
locked myself up in my childhood bedroom. Because
I feel like when I’m there I can remember
what it’s like to be a teenager, to be a kid and feel
so freaked out and scared and excited for life. So
that was my way of getting into character.”
Justin Hurwitz, on his role as a film composer,
upon winning the Academy Award for Best Original
Score for La La Land: “Thank you to all the LA
musicians who played on this score. I just put notes
on a page, and they’re the ones who played it and
made it sound beautiful the way it was.”
“City of Stars” did not make the Hot 100 but enjoyed a peak
chart position of #13 on Billboard Bubbling Under Hot 100
Singles. In contrast, another song nominated for the Best
Original Song Award, Justin Timberlake’s “Can’t Stop the
Feeling!” from Trolls was the best-selling song of 2016 in the
US with 2.49 million copies sold and topped the Billboard Hot
100. Another nominee, Lin-Manuel Miranda’s “How Far I’ll
Go” from Moana charted at #56.

THE PATH TO MASTERY
by Colin Hill, DMA
SUCCESS IN NEARLY EVERY FIELD IS COMMONLY AT-
TRIBUTED TO SOME COMBINATION OF INNATE TALENT
AND HARD WORK. There are those who argue that mastery
is predominantly a consequence of innate talent and believe
achievement of true virtuosity is only attainable for those born
with extraordinary physical and mental characteristics. On the
other side of that debate are those who believe that mastery is only
possible for those who have a relentless drive to achieve, manifested
through countless hours of hard work and dedication.
I am continuously amazed and inspired by the incredible ability
and innovation displayed by the world’s top musicians. How do
these individuals achieve such mastery? Were they each born with
an extraordinary level of innate talent or is their achievement primarily
a result of tenacious practice and perseverance? I decided
that asking the masters themselves was the best way to try to answer
these questions. How do they practice? How do they prepare
for performances? What habits and methods do they credit most
for their success?
Over the course of three years, I had the opportunity of interviewing
some of the world’s most successful performers and educators
in order to explore their personal practice habits. I focused my attention
on one instrument area, percussion, to minimize variables
and provide quantitative constants between those interviewed. In
all, I conducted thirty-six interviews with percussionists at various
stages of their careers and in diverse areas of expertise. This group
ranged from young virtuosos to legendary hall-of-famers, and from
seasoned orchestral players to in-demand soloists. By including a
wide range of classical percussionists, I hoped to reveal those practice
methods and philosophies shared by all great percussionists.
The thirty-six percussionists I interviewed were Joakim Anterot,
Jason Baker, Kevin Bobo, Michael Burritt, Thomas Burritt,
James Campbell, Omar Carmenates, Gary Cook, Christopher
Deane, Brett Dietz, Matthew Duvall, I-Jen Fang, Mark Ford, Andy
Harnsberger, Anders Holdar, John Lane, Julie Licata, Frederic
Macarez, Payton MacDonald, Brian Mason, William Moersch,
Jason Nicholson, Brian Nozny, John Parks IV, Paul Rennick, Emil
Richards, Steven Schick, Robert Schietroma, Joshua Smith, Gordon
Stout, John Tafoya, Blake Tyson, Michael Udow, Ben Wahlund,
Eric Willie, and Brian Zator.
8 | TENNESSEE MUSICIAN | 2017 | Volume 69, No. 3

It is a common misconception
among young musicians that
they have their whole lives
to get better. The truth is that
players likely reach their
greatest skill level when they
complete their education.
What I discovered was unexpected - their practice habits are as
unique and individual as their playing styles. Not only were there a
seemingly countless number of methods, techniques, and philosophies
successfully utilized, but many of their habits and preferences
were in direct contradiction with each other’s.
However, the closer I examined the data, one commonality did
emerge. All thirty-six interviewees exhibited an extreme devotion to
practice, a discovery consistent with other studies done on the topic
of high achievement. These studies are not limited to music or to any
specific field, but were collected under the umbrella topic of success.
10,000 Hours
In Malcolm Gladwell’s book, The Outliers, Gladwell studied
the practice trends of highly successful people. The closer he
studied the habits of the most gifted and successful, the more
evidence he found that innate talent routinely played a much
smaller role than preparation.
In the field of music, this premise is also supported by a series
of studies done in the early 1990s by psychologist K. Anders Ericsson.
1 Ericsson’s team studied violinists at the Music Academy
in West Berlin. The violinists were divided into three groups. The
first group was comprised of the Academy’s ‘best violinists.’ According
to the professors, these students were most likely to become
world-class soloists. The second group was made up of the
‘good violinists,’ and the third group, ‘music teachers,’ consisted of
violinists from the music education department of the academy
who exhibited less skill than their peers.
The individual practice hours of all participating violinists were
added up and the ‘best violinists’ had on average totaled 10,000 hours
by the age of twenty, while the ‘good violinists’ averaged 8,000 hours,
and the ‘music teachers’ averaged 4,000 hours by this same age.
Ericsson and his colleagues conducted a similar study, this
time comparing the practice hours of amateur pianists with professional
pianists. The professional pianists were trained at the
Music Academy in West Berlin while the amateur pianists were
recruited through newspaper and campus ads.
When the total hours were analyzed for this data, the results were
remarkably similar to the violinists’ data. The amateurs on average
totaled 2,000 hours by age twenty and the professionals, like the
‘best violinists,’ reached 10,000 hours by approximately age twenty.
Perhaps the most interesting finding of Ericsson’s studies was
that among violinists and pianists, there were no ‘naturals,’ as defined
by musicians who belonged to the top group but practiced a
fraction of the time. Similarly, Ericsson and his colleagues didn’t
find any ‘grinds,’ people who worked harder than everyone else but
didn’t belong to the top category. 1
These findings are intriguing, as the existence of ‘natural talent’
seems so obviously apparent in child prodigies. To explore
this idea further, consider the most famous child prodigy in music
history, Wolfgang Amadeus Mozart.
Michael Howe, author of Genius Explained, believes that Mozart
was really no different than the violinists and pianists in Ericsson’s
study. While Mozart started composing music at the age
of six and was widely considered a childhood genius, Howe argues
that these claims are exaggerated. He points out that “by the
standards of mature composers, Mozart’s early works are not outstanding.
The earliest pieces were all probably written down by
his father, and perhaps improved in the process.” 2 Further, Howe
argues that Mozart’s first seven concertos for piano and orchestra
were “largely arrangements of works by other composers,” 2 making
his first widely regarded masterwork, containing purely original
music, Piano Concerto No. 9 in E Flat Major, K. 271. This was
not composed until 1777, when Mozart was twenty-one years old.
Based on this argument, Gladwell is convinced that not even
prodigies are exempt from putting in the necessary practice hours.
“Even Mozart - the greatest musical prodigy of all time - couldn’t
hit his stride until he had his 10,000 hours,” 3 said Gladwell.
Percussionist Interviews
So how do the percussionists interviewed compare? Does the
10,000-hour rule seem to apply to mastery in this field of study as well?
One of the questions asked of each of the percussionists interviewed
was to give their best estimate of the number of hours per
day they spent practicing during various time periods of their
lives, from middle school to the present time. In all thirty-six cases,
the numbers were amazingly high, and in a few cases, the numbers
were astonishing.
The figure below shows the average number of practice hours
per day of the thirty-six percussionists during various time periods
of their lives.
Tennessee Music Education Assocation | www.tnmea.org | 9

On average, the thirty-six percussionists interviewed started
playing percussion at nine years old. When their daily practice
hours are totaled, they reach 10,000 practice hours by an average
age of 21.5 years.
HOURS PER DAY
TOTAL ACCUMULATED HOURS
6
5
4
3
2
1
0
Middle
School
10,000
8,000
6,000
4,000
2,OOO
0
PRACTICE HOURS PER DAY (AVG)
Figure 1.1
High
School
Undergraduate
TIME PERIODS
Graduate
Studies
TOTAL ACCUMULATED HOURS (AVG)
Currently
9 10 11 12 13 14 15 16 17 18 19 20 21 22
Figure 1.2
AGE (YEARS)
Environmental Limitations
When comparing the statistics of Ericsson’s studies, the age at
which Mozart composed his first masterpiece, and the thirty-six
percussionists interviewed, one very interesting trend emerges.
The 10,000-hour milestone is typically achieved around twenty
years of age.
That is an enormous amount of time to dedicate to a single activity,
especially as a child and young adult. For this reason, Gladwell
believes that not everyone is capable of achieving 10,000
hours. “You have to have parents who would encourage and support
you” 3 because it is “all but impossible to reach that number all
by yourself.” 3 In addition to requiring family support, “most people
can reach that number only if they get into some kind of special
program . . . where they get some kind of extraordinary opportunity
that gives them a chance to put in those hours,” said Gladwell. 3
Accumulation of this many hours requires extreme devotion,
which may also explain why it is routinely reached at such a young
age. The typical obligations of adulthood - work, relationships, and
families - greatly reduce an individual’s ability to practice. For this
reason, it can be reasonably concluded that if 10,000 hours aren’t
achieved before starting a career, the attainment of mastery may
never be reached because the player simply will not have sufficient
time to practice.
This notion was widely supported by the percussionists interviewed,
with most indicating that once they finished their education
and started their careers, practice became an activity of maintenance,
not improvement. The quantity of time they were able to
spend in the practice room was barely enough to sufficiently prevent
them from getting worse. Most indicated they were no longer
getting better at their instrument, but simply maintaining the
skills they had acquired through college. This can be correlated to
the immense drop-off in practice when comparing their average
practice hours during college to their current practice hours. To
put in perspective the severity of the drop-off, the percussionists
interviewed currently practice less per day than they did when
they were in middle school.
It is a common misconception among young musicians that they
have their whole lives to get better. The truth is that players likely
reach their greatest skill level when they complete their education.
Once careers are underway, only a fortunate few are able to avoid
a long slow decline in their playing skills. Students often take the
attitude that ‘I’ll practice it later’ or ‘after I graduate I’ll learn to do
that.’ The harsh reality is, they won’t. High school and college is the
time to practice and improve your skillset, and once that time has
passed, the opportunity to get better is likely gone forever.
The irony of this realization is that many of the percussionists
interviewed confessed that that they did not discover how to most
efficiently practice until later in their careers, when time was truly
at a premium. While finally mastering the art of practice is a tremendous
accomplishment, the window in which this skill would
have proven most beneficial had long expired.
It is clear that in order to be a successful musician, one must put
in the practice time. Statistics strongly indicate that there is no
substitute for putting in at least 10,000 hours of practice early in
life. However, how these hours should be best spent is much less
certain. In fact, most people are extremely secretive about their
10 | TENNESSEE MUSICIAN | 2017 | Volume 69, No. 3

While most teachers
do instruct their
students what to
practice, a much
lower percentage
of teachers actually
give their students
specific details on
how to practice the
assigned material.
practice habits. For example, what do most of us do when we are
practicing and somebody walks into the room? We stop. Rarely,
do we practice in front of each other. Further, practice is usually
a neglected subject in the classroom and in private lessons. While
most teachers do instruct their students what to practice, a much
lower percentage of teachers actually give their students specific
details on how to practice the assigned material. Why is this? After
all, diligent practicing was the only traceable correlation between
all 36 percussionists interviewed.
If practicing is the key element of success, merely talking about
it isn’t enough. We need share our practice habits with each other
and we need to watch our students practice. Are they doing it efficiently?
Are they doing it “correctly?” Observation followed by
assessment is a standard procedure found in all aspects of music
education and is how we evaluate our students. Why should practicing
be any different? Especially when diligent practicing is the
only commonality found among the world’s top musicians.
As educators, we commonly assess students by their improvement
from week to week on a given musical passage. However, wouldn’t it
be more advantageous to assess how they practiced that given musical
passage? After all, the execution of a particular passage does not
define us as musicians, but how we practice it does.
Endnotes
1
K. Anders Ericsson, et al., “The role of deliberate practice in the acquisition of
expert performance,” Psychological Review 100 No. 3 (1993): 363-406.
2
Michael J.A. Howe, Genius Explained, (Cambridge, MA: Cambridge University
press, 1999), 3.
3
Malcolm Gladwell, Outliers: The Story of Success, (New York, NY: Little,
Brown and Company, 2008), 42.
This article is reprinted courtesy of Ala Breve, the official publication
of the Alabama Music Educators Association. Special thanks to Garry
Taylor for assistance.
Dr. Colin J. Hill currently serves as the Professor of Percussion Studies at
Tennessee Tech University. As an active performer, Colin has been invited to
perform concerts throughout the United States, Europe, and Asia and performs
regularly with the BluHill Percussion Duo, Bryan Symphony Orchestra, and the
TTU Faculty Jazz Combo. As an educator, he has appeared as a guest artist and
clinician at numerous high schools and universities throughout the United States
as well as several PAS Days of Percussion and PAS International Conventions.
Colin holds degrees from The University of North Texas (B.M.), Jacobs School of
Music at Indiana University (M.M.), and The University of Kentucky (D.M.A)
Tennessee Music Education Assocation | www.tnmea.org | 11

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

PERFORMANCE CAMPS
for STUDENTS
BELMONT PIANO CAMP: June 11–16
SUMMER WINDS BAND CAMP: June 11–17
STRING CROSSINGS CAMP: June 18–23
SUMMER VOCAL ARTS INTENSIVE: June 25–July 1
MUSIC EDUCATORS
ORFF LEVEL I: June 12–23
2017 BELMONT UNIVERSITY
Summer Music Education Programs
SCHOOL of MUSIC
For more information
visit belmont.edu/music
or call 616.460.6408

MUSIC TEACHING AND MINDFULNESS: HOW TO IMPROVE ATTENTION
AND PROMOTE BETTER SELF-REGULATION IN THE MUSIC CLASSROOM
by Frank Diaz, Ph. D.
Michelle and Michael are 10th
grade trumpet players in Ms.
Fry’s high school band. It is 3:00
pm on a Friday afternoon and
both students are tired after a
long week of classes, homework, and after
school rehearsals. As Ms. Fry tries rehearsing
the last few measures of the show case
piece for next week’s concert, an interesting
but not uncommon situation unfolds.
“Trumpets, we are still cutting off the end
of the phrase at measure 82. Please make
sure to subdivide that last dotted quarter
and release together.” Michelle thinks about
Ms. Fry’s directions and then proceeds to
quietly subdivide the measure in question.
She is diligent in her attempts, and although
students around her are fidgeting, whispering,
or otherwise tuning out, her ability to
focus through distractions helps her learn
the passage after just a few tries. In contrast,
Michael is struggling. Despite his best
efforts, he is fidgeting, playing games with
the iPhone hidden on his stand, and is having
trouble following and remembering Ms.
Fry’s directions. To make things worse, he
notices his friend entering the band room
just a few minutes before the bell. Before he
has a chance to think about it, he is already
yelling, “wait for me …”.
Ask any music teacher and they will undoubtedly
tell you that they have worked
with both a “Michelle” and “Michael” at
some point in their career. They might
even confess a little confusion as to why,
under identical situations, one student
would react completely different when
compared to the other. Often, these same
teachers are well trained in classroom
management, have exemplary groups, and
think carefully about how they structure
learning environments for their students.
Yet, dealing with discrepancies in focus
and self-regulation, which can be significant
hindrances to successful learning,
continue to be a major concern for them.
Part of the issue in addressing problems
with focus and self-regulation is that many
educators lack familiarity with how these
faculties function within the brain. Although
teachers are often trained to work
with the observable, i.e. desirable or undesirable
“behaviors”, they have little knowledge
regarding the biological and neurological
underpinnings of these behaviors. This
is not to say that an in-depth understanding
of these underpinnings would be indispensable
to successful teaching, but key
relationships between attention, self-regulation,
and successful learning are subtle
and complex, and new ways of thinking
have emerged that offer greater clarity in
respect to these relationships.
One specific research finding provides
evidence that attention is subject to modification
through deliberate practice. This
is important because it is often taken for
granted that attentional skills, such as
prolonged states of undistracted and voluntary
focus, are either at the mercy of
environmental influences, or otherwise
biologically fixed. In fact, recent studies
indicate that strategies based on a practice
known as “mindfulness” are especially
useful in enhancing attention and self-regulation
throughout various populations. 1
In its most basic form, mindfulness
may be described as a cognitive strategy
that pairs goal-directed attention with a
skillful and non-reactive orientation to
distracting thoughts, emotions, or other
14 | TENNESSEE MUSICIAN | 2017 | Volume 69, No. 3

undesirable cognitions. 2 Its origins can
be traced to non-western philosophical,
psychological, and religious practices that
were designed to cultivate a specific set of
mental capacities and promote wellbeing.
Despite its association with non-western
religious practices, mindfulness as used in
modern therapeutic, scientific, and educational
contexts is often deliberately decoupled
from its religious roots. This has allowed
secular institutions such as schools
and hospitals to explore how mindfulness
might benefit their communities.
Mindfulness-based techniques seem especially
relevant to music learning because
their basic protocols are adaptable in a
number of musically related exercises, offering
an effective yet non-punitive method
of improving attention among students.
As a teacher, I became interested in
mindfulness after years of using it in my
own work as a performer and conductor.
I noticed that I could deal with stressful
situations more effectively, and was more
focused and creative in how I approached
my work. I figured that with appropriate
modifications, mindfulness-type strategies
could be incorporated into warm-ups
and other activities in my classroom. The
key was to make them relatively short,
and to relate them to a musical concept or
skill. After years of working on and refining
these activities, I feel that they have been
incredibly useful in my work as a teacher.
To this day, I continue to work with mindfulness
as a researcher, conductor, performer,
and teacher.
In this article, I describe what mindfulness
is, and suggest concrete ways of using
mindfulness to improve attention and
self-regulation during music learning.
What is mindfulness?
The basic practice of mindfulness can be
described as paying attention to the present
moment, on purpose, with a sense of
openness and curiosity. Typical mindfulness-based
exercises require participants
to focus their awareness on somatic sensations,
thoughts, or other experiences, without
any attempt to block or otherwise suppress
associations that might arise during
this process. When these types of associations
do arise, practitioners are directed to
simply acknowledge them then re-engage
with the object of their attention.
Since the 1980s, the use of mindfulness-based
techniques have become
widespread, with programs supported in
institutions as diverse as hospitals, corporations,
the military, and schools. Initially,
mindfulness was explored as a method
of alleviating psychological discomfort
resulting from chronic pain. Jon-Kabat
Zinn, one of the most prolific writers in
the field of mindfulness, began exploring
the technique as a palliative tool at the
Massachusetts General Hospital Stress
Reduction Clinic in the 1970s. Since then,
there have been several findings indicating
the benefits of short and long term mindfulness
training on improving attention.
With its implications for self-regulation,
the use of mindfulness-based techniques
by classroom teachers may result in several
benefits in student behavior, focus, and
meaningful engagement.
In its most basic form,
mindfulness may be
described as a cognitive
strategy that pairs goaldirected
attention with a
skillful and non-reactive
orientation to distracting
thoughts, emotions, or other
undesirable cognitions.
How does Mindfulness Work?
Although the science behind mindfulness
is complex, its effects on the brain can be
conceptualized in a simple manner. Basically,
mindfulness refines parts of the brain
that deal with attention and self-regulation.
Your attention system, which has three distinct
but overlapping functions, is used extensively
during musical activities. These
functions can be described as focus, awareness,
and orienting, and are mapped to different
parts of the brain. Focus deals with
your ability to sustain attention without
distraction, which is important for activities
such as tuning to a pitch or working intensely
on a difficult passage. Awareness is
what you use when you are monitoring your
environment for important information,
and is in play when we engage in activities
such as blending, matching, or responding
quickly to a cue from a conductor. Finally,
there is orienting, which deals with your
ability to change quickly and purposefully
between different types of tasks. Self-regulation,
which is related to our ability to plan
intelligently and persevere through difficult
tasks, improves greatly when these attentional
capacities are refined.
Mindfulness-Based Techniques
in the Classroom
Just as we strengthen our students’ psychomotor
skills through careful and deliberate
repetition of scales and other fundamentals,
we can use mindfulness-based
strategies to help train the fundamentals
of attention and self-regulation. For example,
music educators employ lessons
and exercises that address intonation,
technique, pulse, tone production, and
other concepts, in hopes that students will
develop a set of skills that can be called
upon and transferred to performances and
other musical activities. When a student
works on a difficult technical passage in
a Mozart symphony, or is asked to keep a
steady pulse during a march, we expect
them to draw upon concepts learned and
reinforced through fundamental training.
When the strategy works, students either
implicitly or deliberately transfer their accumulated
knowledge of scales, fingerings,
or other fundamentals to these passages,
hopefully with minimal to no prompting
from the teacher. Similarly, a student who
has worked deliberately and routinely on
focus and self-regulation may habitually,
or perhaps with some guidance from the
teacher, draw upon these skills to deal effectively
with a variety of difficult or frustrating
learning situations.
Musical activities, specifically those
dealing with psychomotor and listening
skills, are especially conducive to promoting
mindfulness. Since mindfulness-based
strategies involve a basic protocol of guided
attention to a stimulus, paired with
prompts to re-engage with the stimulus
when presented with distractions, these
fundamental procedures can be adapted
into musical warm-ups, listening tasks,
and somatic awareness tasks. Creative music
teachers can incorporate these exercises
in a number of ways, but in Figures 1-4,
I offer suggestions that include a basic preparatory
protocol (Figure 1), followed by
examples of specific exercises that can be
used within instrumental, choral, and general
music classes (Figures 2-4). Furthermore,
specific musical, attentional, and
self-regulation benefits for each exercise
are included in Table 1, along with a suggested
mindfulness prompt to accompany
each of the exercises. With time, these exercises
should strengthen a number of mu-
Tennessee Music Education Assocation | www.tnmea.org | 15

As a teacher, I became interested in mindfulness after years of
using it in my own work as a performer and conductor. I noticed
that I could deal with stressful situations more effectively, and
was more focused and creative in how I approached my work.
tually dependent musical, attentional, and
self-regulation capacities, offering a skill
set that can be transferred to a variety of
music learning and performance contexts.
Adaptations to these exercises are potentially
limitless, and can range from a few minutes
to longer sessions based on context and
time availability. Ideally, there would be some
mindfulness-type exercise occuring on a regular
basis, as the research literature suggests
that short exercises that occur regularly are
most useful in promoting long term changes
to a student’s ability to focus and self-regulate.
Even short periods of mindfulness, however,
have been shown to be beneficial.
Mindfulness-Based Strategies Applied
Although there are a number of settings
in which mindfulness training can be beneficial,
let’s examine how regular mindfulness
practice might affect a student who is
having difficulty with focus and resilience
during a difficult learning task. Michael, the
10th grade trumpet student who we referred
to earlier, is working on an awkward fingering
pattern in his festival music. He is aware
that the pattern is difficult, but with his
teacher’s help, is being led through a strategy
that encourages him to work on just
one aspect of the passage at a time. Initially,
this involves just fingering through the
music without creating a sound, and going
slowly enough to commit these fingerings
to memory. Everything is going fine until
Michael tries to pair this step with the next
component, which involves producing the
actual pitches that are notated in his music.
After making just a couple of mistakes, and
despite encouragement from his teacher,
Michael starts to become frustrated, and
his concentration begins to suffer. Furthermore,
he is now overwhelmed by distracting
and negatively colored thoughts about his
playing, his probability of success, and what
his teacher and peers might think of him.
At this point, if Michael has been practicing
mindfulness-based strategies, he has
a set of skills available that will help him
get through this situation in an effective
way. First, since Michael has been working
on maintaining focus during warm-up
sequences, despite the fact that he is often
tired and distracted at the beginning of rehearsals,
he is aware that he has some control
over his ability to sustain attention for
prolonged periods of time. In fact, a skillful
educator might remind him of this fact,
much like when students are reminded
that the tone quality of a particular chord
should resemble the tone quality they
have been working on during their warmup
chorale or tuning sequence. A typical
prompt could be something to the effect of,
“Michael, this is a difficult passage, but we
have been working on maintaining concentration
during many of our warm-ups, even
when the task is difficult, boring, or long.
Bring that character of thinking to what
we’re doing now. With some careful and
extended work, the passage will get better.”
Also, since mindfulness-based strategies
require that individuals deal with distractions
by acknowledging them but not dwelling
upon them, Michael is spending less energy
ruminating over negative thoughts, and
no energy on suppressing these thoughts
either. The net effect is that Michael is
more likely to engage in the difficult task
because he can self-regulate the emotional
and cognitive distractions that would typically
derail him under similarly difficult
learning situations. In fact, this is precisely
what the research literature suggests will
happen when a person engages in mindfulness-based
activities on a regular basis.
The Skill of Mindfulness and
Improved Instruction
When you practice mindfulness-based
strategies, you are essentially practicing
a skill. Specifically, this is the skill of
strengthening your attention system so
that it serves you rather than the other way
around. You learn to do this skillfully and
realistically, knowing that there are limitations
to attention, and that working with
distractions and unwanted emotions rather
than against them is the key. This is the
essence of what it means to self-regulate.
It is important to note that using mindfulness
techniques might not directly affect
the quality of a student’s task performance
or ability to learn. In other words, good
teaching is still required. Good teaching,
however, is greatly facilitated when students
are less distracted, have increased
skills in cognitive and emotional self-regulation,
and are primed to be active, aware,
and engaged during learning tasks. There
is also research suggesting that mindfulness-based
strategies can lead to more engaged
listening, increased enjoyment of musical
tasks, and might even facilitate states
of focused enjoyment known as “flow.” In
one study, musicians who participated in a
brief mindfulness induction before listening
to operatic music reported increased
engagement and less distractibility during
listening. 3 The same study demonstrated
that listeners experienced longer periods
of concentrated enjoyment, or flow, after
engaging in a brief mindfulness induction.
For music educators, the use of
mindfulness-based approaches is
limited only by their willingness
and creativity. In fact, there are
now several organizations, publications,
and conferences dedicated to using
mindfulness in the classroom. 4 These
resources can serve as a clearinghouse of
ideas for music teachers looking to enhance
how students learn and stay engaged within
their classrooms. Furthermore, in an age
where opportunities for distraction and instant
gratification are increasing at a rapid
pace, developing skills in concentration and
control can only help enhance our students’
well-being and opportunities for success.
Article reprinted by permission. Special
thanks to Dale Misenhelter, editor-in-chief
at SEGUE, the official publication of the Arkansas
Music Educators Association.
1 Lutz Antoine, Heleen A. Slagter, Adrian J.
Dunn, and Richard J. Davidson, “Attention
Regulation and Monitoring in Meditation,”
Trends in Cognitive Science 12 (2008): 163.
2 Jeffrey M. Greeson, “Mindfulness Research
Update: 2008,” Health Practice Review 14
(2009): 11-15.
3 Frank M. Diaz, “Mindfulness, Attention, and
Flow during Music Listening: An Empirical
Investigation,” Psychology of Music (2011):
1, doi: 10.1177/0305735611415144
4 There are several professional
organizations that host websites dedicated
to disseminating research and applications
of mindfulness in classroom settings.
More information can be found at www.
mindfulschools.org, www.mindfuled.org,
and www.mindfuleducation.org
16 | TENNESSEE MUSICIAN | 2017 | Volume 69, No. 32

Figure 1
PREPARATORY PROTOCOL FOR ALL EXERCISES
Figure 2
EXERCISE: “FOCUS BREATHING”
1Ask students to close their eyes, sit comfortably, and
take a few deep breaths. Prompt them to allow their
breathing to become normal and relaxed, rather than
purposefully changing their breath or actively trying to
relax.
2Tell students to pretend that there is a string on the
top of their head that is gently pulling them towards
the ceiling. They should feel their upper body
become a little taller, supported by a gentle lifting in the
area of their spine.
3As their breathing becomes slower and relaxed, ask
students to move their upper bodies left to right and
side-to-side until they find a position in which they
feel balanced, alert, and relaxed.
4For all exercises, remember the goal is to focus
attention on a task or goal while prompting students
to acknowledge distractions rather than suppress
them or over-react to them. This is done through gentle
reminders to re-attend to the task at hand, rather than
ruminate on distracting thoughts or other sources of
competition for focus of attention.
MUSICAL GOAL:
Breath control for sustained phrasing, builds focus for contexts
in which musicians must maintain focus on a target
despite distractions (for example, tuning, delaying gratification
during complex learning tasks)
1Students should then place their index finger
approximately two inches from their chin, making
sure their middle knuckle is directly across their lips.
2When the knuckle is in place, the teacher should
lead them through measured inhalation/exhalations
(4-4, 3-6, 2-8, etc.), reminding students that the
goal is not only to work on breath control, but on focus
as well. This can be done by gently prompting students
to attend completely to the physical sensations of air
rushing in and out from their lips to the knuckle, while
acknowledging distractions and then returning their
focus to the breath.
MINDFULNESS PROMPT:
“Focus on the sensation of air moving across your lips and
on to your knuckle, if you become distracted by any sounds
or thoughts, simply acknowledge the distraction and bring
your attention back to the breath.”
Figure 3
MUSICAL GOAL:
Listening and adjusting to quickly changing musical elements
SETUP:
Split the class into pairs or small groups. Students in each pair or group should rotate between the role of “leader” and “respondent(s)”.
Make sure there is enough distance between groups so that students can hear their “leaders” clearly. This exercise
works well in sectionals and can be used in one-to-one instruction as well.
PROCEDURE:
EXERCISE FOR ORCHESTRA/BAND/CHOIR: “ADJUST TO YOUR PARTNER”
1Select a short musical passage or exercise that can be easily memorized or that is played/sung often, essentially something
that can be played/sung with eyes closed. Scales or passages from warm-ups are excellent for this purpose.
2During the exercise, the leader begins by performing the passage two times, demonstrating a clear pattern of dynamics,
timbre, or articulation. With their eyes closed, respondents focus on these musical elements and then attempt to imitate
what they heard.
3The tempi and variations of the pattern should progress from slow and less varied to faster and increased variation.
4The leader changes pattern only when they feel that that their partner(s) have responded correctly. This serves as a method
of feedback for the respondent(s) and helps to sharpen attention throughout the task
5As an added element of difficulty, the student leader can begin a new pattern while the other student(s) is/are still playing,
especially if they are confident that it will be completed correctly.
MINDFULNESS PROMPT:
“As your partner shifts the weight of their articulations, tone colors, and dynamics, do your best to match their approach. As
the changes happen quicker, the task might become a little frustrating. If this happens, acknowledge the frustration and return
your attention quickly to the task at hand.”
Tennessee Music Education Assocation | www.tnmea.org | 17

Figure 4
EXERCISE: “FIND THE PITCH”
MUSICAL GOAL:
Error detection and listening across the ensemble
SETUP:
This exercise will require teachers to purposefully identify pitches and notes within vertical sonorities as targets for listening,
or to identify students or sections to assist in purposefully playing incorrect notes within a melody or vertical sonority.
PROCEDURE:
1Select a target pitch nested within a warm-up exercise or from selected repertoire. For example, the third of a Bb
major triad, which will be played by a specific instrument or section during or at the end of a passage.
2Prompt the group to listen carefully for the occurrence of the target pitch, and to be prepared to identify which
section/player performed it, and for added difficulty - when, how many times, at what dynamic, etc. As always,
start with easy and progress to more varied and difficult tasks as students improve. Students with the target note
must be notified in advance that they should not raise their hand or provide an answer during this time. To keep
students on their toes, make sure everyone has an equal chance of being selected.
3Variations of this exercise can be developed for identifying incorrect pitches, vertical harmonies, or other musical elements.
MINDFULNESS PROMPT:
“While performing your part, listen carefully across the ensemble. See if you can detect which instrument has the target note.
If you become too focused on your own part, or become distracted, mentally acknowledge this and then reengage with finding
the target.
Table1
MUSICAL
DOMAIN AND
CONCEPT
MUSICAL AND SELF-REGULATION BENEFITS OF SAMPLE EXERCISES
Psychomotor
“Breathing”
BAND INSTRUMENTAL/CHORAL INSTRUMENTAL/CHORAL
/GENERAL
Cognitive/Psychomotor/
Affective
“Adjust to your partner”
Cognitive
“Find the pitch”
FOCUS OF
ATTENTION
Measured inhalation and
exhalation aimed at the knuckle
(see Figure 2). Develops goaldirected
attention
Individual along with a partner’s
performance of a musical element
(see Figure 3). Develops orienting
attention
Target pitch within a chord
performed by a specific instrument
or section. Deviations from a target
vertical sonority (see Figure 4).
Develops appropriate stimulusdriven
attention
SELF-
REGULATION
BENEFIT
Ability to focus on a target/goal
while dealing skillfully with
distractions
Purposeful and rapid shifting
between two tasks. Dealing quickly
and effectively with frustration.
Decreases unnecessary rumination
on mistakes.
Awareness and sensitivity to
important environmental cues
MUSICAL
CONTEXT
Sustaining breathing through a
difficult phrase, sustaining a target
pitch, tempo, or focus on a specific
musical element
Monitoring and quick adjustment
shifts between individual and
ensemble performance of musical
elements such as articulation,
intonation, or blend. Following a
conductor.
Active ensemble listening, error
detection, decreases excessive
focus on students’ individual part,
encourages ensemble engagement
and sensitivity
18 | TENNESSEE MUSICIAN | 2017 | Volume 69, No. 2

TENNESSEE
U N I V E R S I T Y O F T E N N E S S E E
2017 MARCHING BAND AUDITION DATES
Music Majors and Music Minors
(Woodwind, Brass & Percussion) - February 11 and February 18
Non Music Majors
(Woodwind, Brass, Percussion, & Color Guard) - February 25 and March 4
For more information on how to join The Pride of the Southland Band visit
our website www.utbands.com or call us at 865-974-5031.
Connect with UT Bands
Tennessee Music Education Assocation | www.tnmea.org | 19

• Competitive
scholarships available
• Music ensembles from
symphony to salsa
• 200+ music
events per year
• Ten undergraduate
music programs
• Eight graduate
music programs
• Music living/learning
community on campus
• 38 full-time and
45 part-time faculty
• University Honors
College courses
AUDITION DATES
Saturday, February 4, 2017
Friday, February 17, 2017
Saturday, February 25, 2017
CAREERS IN MUSIC DAY
Tuesday, November 1, 2016
20 | TENNESSEE MUSICIAN | 2017 | Volume 69, No. 3
SCHOOL OF MUSIC
MTSU Box 47
Murfreesboro, TN 37132
615-898-2469
mtsumusic.com
Middle Tennessee State University does not discriminate on the basis of race, color, national origin, sex, or disability. See our full policy at mtsu.edu/titleix.

TMEA STATE GENERAL MUSIC CHAIR’S MESSAGE
Linzie Mullins
Can’t take off work for the full conference? We hate to miss you
but have a WONDERFUL opportunity for you. Join us Saturday
morning for the Tennessee Treble Honor Choir performance at
9:00 a.m. and then directly after for a great workshop given by our
Honor Choir clinicians this year: Debbie Burton and Margie Orem.
TMEA CONFERENCE IS QUICKLY
APPROACHING, have you registered
yet? You seriously do not want to
miss this year’s conference. Not only
will you get the opportunity to be present
for some magical music making, but you
will also get to make your own music in our
many workshops being offered. The spots
for general music are FULL thanks to all of
you who submitted session proposals.
I am also extremely excited to meet each
and every one of you at the general music
education caucus at 4:00 p.m. on Thursday,
April 6. I am looking forward to not only
collaborating with you but also getting to
know each of you a little better!
Be sure to be on the lookout for these
sessions, and much more:
Jennifer Vannatta-Hall
Let’s Play! Student-Centered Music Lessons
for K-3 - This session offers practical
ideas for implementing student-centered,
play-based music experiences that are developmentally
appropriate for early childhood.
Allen Moody
Visit the Recorder Buffet - This session
helps teachers integrate recorder instruction
into lessons with movement, improvisation,
games, and storytelling.
Heather Klossner
Make it POP: Tune Your Students’ Ears
with Pop Tunes! – This session will focus
on reinforcing students’ sense of functional
harmony as well as develop their aural
skills. Come sing, dance, play and learn
how to make your curriculum POP!
Elizabeth Carter
Orchestral Music in the Elementary
Classroom - From play-alongs to movement
activities, from games to musical
partnerships, this session will look at a
wide variety of ways to actively engage
elementary students through orchestral
music.
David Frego
Dalcroze Eurhythmics: Meaningful
Movement - Participants will be actively
engaged in exploring the elements of
music through rhythmic and purposeful
movement.
Can’t take off work for the full conference?
We hate to miss you but have a
WONDERFUL opportunity for you. Join
us Saturday morning for the Tennessee
Treble Honor Choir performance at 9:00
a.m. and then directly after for a great
workshop given by our Honor Choir clinicians
this year: Debbie Burton and Margie
Orem. It will be $10 for TMEA, AOSA, or
OAKE members, and $25 for non-members.
The workshop will be from 10:00-
1:00, and you can register for it on-line!
Debbie and Margie have shared this session
overview with us: “Spring Into Music
is a set of three sequenced grade level
lesson plans incorporating singing, movement,
instruments and games all within
the focus of Spring. Each of these segments
is preparing, presenting and/or practicing
particular music elements. Our goal is to
set up a lesson that transitions from one
activity to another to promote better understanding
and integration for the students.”
Come on out and bring a friend.
Also, I want to share a neat idea with
you. My aunt is a P.E. teacher, and we often
collaborate, especially when we have ideas
like this one! She went to a workshop about
P.E. in a general classroom and new and
different ideas to create a fun environment
without breaking things. The presenter
shared her “poppers” with them, which
are pool noodles cut into smaller discs and
then cut in half. Disclaimer: You must use
a hollow pool noodle, one with a hole down
the entire noodle. Once cut, the pieces look
like little rainbows. One noodle can make
enough poppers for one class, plus some.
When you squeeze the popper, it pops up
and makes a popping sound. I immediately
went and made my own, and used it for
my “Pop! Goes the Weasel” lesson. Did you
know that the song was written about a
yarn-winding machine? Look this information
up! There is even a video of the “weasel”
popping for you to show your students.
My students love this lesson every year,
and lucky for me, these flying poppers never
harm a thing in the classroom. Of course,
there are rules with them, but let them fly
and have fun.
SEE YA IN APRIL!
Tennessee Music Education Assocation | www.tnmea.org | 21

TMEA STATE CHORAL CHAIR’S MESSAGE
W. Fitzgerald Patton
WOW!
It’s hard to believe
that in just a short
few weeks it will be
time for the annual Tennessee Music Education
Conference at Gaylord Opryland
Hotel and Conventions Center! I hope you
already took the time to book your rooms
at the hotel convention center and also
purchased your meal cards. I am anxiously
awaiting seeing both familiar faces and
new faces at the conference!
As I reflected on these past months as
state chair, I discovered that this position
is one that you grow into. I learned a great
deal these past months, and it is my desire
to continue to learn and grow so that I can
serve you in a greater capacity. One thing I
learned is to listen to my colleagues’ ideas,
concerns, and hopes. We can all agree that
we want the very best for our music students
in the state of Tennessee. To achieve
excellence in grooming these young musicians,
we have to implement policies and
procedures that will ensure their success.
So, with that idea in mind, I am not only
working for directors, but for our precious
students as well.
The way we improve and grow is to have
valid, stimulating, and informative discussions.
So, I would like to take this opportunity
to cordially invite all choral directors
from across the state of Tennessee to our
vocal caucus meeting. The meeting will be
Friday, April 7th at 10 a.m. The location
will be printed in your conference schedule.
During this meeting, I will have a formal
agenda of relevant topics to discuss.
Some of those topics will include audition
processes and uniformity, state music
standards, and mentorship.
I know there are other things that directors
may want to discuss, and that is fine. I
do ask that if you have other relevant issues
or topics take a moment to contact me either
via email or phone. I want to be prepared to
answer your questions and steer our conversations
in a positive direction. One of
the things that I will strive to do is keep our
meetings positive, informative, and short!
We only have about 50 minutes. So, again
contact me if you have questions or concerns.
In closing, I want to meet as many directors
as I can at the conference. Please take
a moment and find me, introduce yourself,
and come to the vocal caucus meeting.
Encourage your colleagues to come to the
convention as well. Let’s share ideas, work
together, and celebrate what we do well as
well as work on what needs to be improved.
Let me end with this story. I met a high
school choral director from East Tennessee
last year at the conference. She and I
were in a holding area for one of the allstate
choirs. At the time, I did not serve
as choral chair. She said something to
me that hit home. She said that she loved
what she does as a music teacher, but she
did not feel appreciated at her school. I remember
thinking to myself, “That’s something
that I believe ALL music teachers
deal with at some point in their career.” I
remember saying to her that I understood
how she felt and I thanked her for sharing
what she shared. I also told her that there
had been times in my teaching career that
I felt the same way. Even though I did not
offer a magical solution to her problem—
what I offered was just as valuable—my
support, my listening ear, and encouragement.
So, this is why we need you at the
conference and the caucus meeting. Let’s
listen to one another, share ideas, and
support one another. See you in April!
The way we
improve and
grow is to have
valid, stimulating,
and informative
discussions. So, I
would like to take
this opportunity to
cordially invite all
choral directors
from across the
state of Tennessee
to our vocal
caucus meeting.
22 | TENNESSEE MUSICIAN | 2017 | Volume 69, No. 3

TMEA STATE ORCHESTRA CHAIR’S MESSAGE
Michelle Clupper
While attending quality sessions can be invaluable, so
can collaborating with another colleague. I am constantly
amazed when I chat with a fellow educator and they mention
a teaching technique like it’s the most obvious and simple
tool and all I can think is “why didn’t I think of that”?
What does it mean to be a lifelong
learner? One definition
describes it as “the self-directed,
continuous quest to seek
formal or informal education
for personal enjoyment or to develop career
skills.” 1 I don’t know about you, but after
spending five years in college, I was excited
to get out into the classroom and begin my
hands-on learning process. And learn I did.
I watched and listened as the more experienced
directors around me showed me how
it was done. Learning new techniques and
out-of-the-box ways to reach students made
my first years of teaching seem exciting and
new every day. And then . . . I got into a routine.
For the record, I think that routines
are wonderful and they can help you build a
stable foundation as an educator. But I have
come to realize that I had become settled
in that routine to the point where I was no
longer searching for those “aha!” moments
as an educator. I loved seeing those same
moments happen for my students but had
forgotten what it was like to have them
myself. And I wondered: am I the only one?
Are there others out there like me that love
teaching but have begun to think of clinics
as a place where I chaperone students instead
of a place where I can learn and recharge?
As we rapidly approach the 2017
TMEA Professional Development Conference,
I would like to challenge all of you to
do two things in Nashville: find a session
that will increase your skill set as an educator
and enlarge your professional circle by
introducing yourself to another educator.
There are so many creative and engaging
sessions that are being planned for the conference.
As I looked at the list of proposals,
I got more and more excited about attending
in April. Professional development is
one of those things that I have begun to
think of in the “I’ll do it when I have time”
realm. I’m beginning to realize that I need
those opportunities to stretch my boundaries
as an educator, get me to step outside of
my comfort zone and remind me that there
are techniques that can better my routine.
In my area, ETSBOA has started offering
Directors Sessions at All-State East. Even
though we don’t all teach AP Music Theory
at our schools, the AP Board Theory course
at Texas Christian University gave me
many tools to increase the understanding
and use of theory in my performing ensemble
classes. Organizations like ASTA and
Music for All offer sessions for directors
that can energize your teaching. And no list
of professional development opportunities
would be complete without mentioning the
Midwest Clinic.
While attending quality sessions can be
invaluable, so can collaborating with another
colleague. I am constantly amazed
when I chat with a fellow educator and
they mention a teaching technique like it’s
the most obvious and simple tool and all
I can think is “why didn’t I think of that”?
One stumbling block to collaboration is
not knowing who to talk to or how to reach
them. That is why I think it is so important
that we develop and maintain a statewide
contact list of orchestra directors and
identify those directors who are willing to
serve as mentors. I hope to have the statewide
contact list put together and available
by the time we meet in Nashville.
As much as we can learn from attending
sessions and collaborating with colleagues,
sometimes the best learning can
come from leading. Recently, I have had
the privilege of being the clinician for two
clinic ensembles. To be honest, I was nervous
about both opportunities but decided
to accept anyway. When both clinics
were all said and done, I realized that I had
gained an enormous amount of experience
and knowledge in the combined four days.
One of my best professional development
experiences this year came from standing
in front of a group, not from sitting in
a classroom. I want to encourage each and
every one of you to consider leading a session
at your local, regional or state conference
in the coming year. I have spoken with
so many educators from different content
areas lately, and their response is always
“I don’t have anything to say that someone
would find interesting.” To that, I reply that
is simply not true! I have learned so much
by walking into my colleague’s classrooms
or talking with them at local events and figuring
out why and how they do what they
do. The orchestra educators in this state,
both new and experienced, have so many
different ideas about how to boost student
achievement in their classrooms. Sharing
your knowledge and experience with educators
across the state ensures that our
craft will continue long after we retire.
In looking toward the conference, there
will be a state orchestra caucus, which I encourage
everyone to attend. I would like to
discuss names that we can add to the list of
possible clinicians for all-state and also the
creation of a state repertoire list for concert
performance assessment. There will also
be an ASTA meeting, and I know that they
would love to see all of us attend. I am looking
forward to seeing all of you at the TMEA
Professional Development Conference.
1
Cooper, D. (2003-2017) What is Lifelong
Learning? Definition & Benefits. Study.
com. Retrieved from http://study.com/
academy/lesson/what-is-lifelonglearning-definition-benefits.html
Tennessee Music Education Assocation | www.tnmea.org | 23

music AT UNION UNIVERSITY
to exalt
to inspire
Jackson, Tennessee
731.661.5345
uu.edu/music
DEPARTMENT of MUSIC
EXCELLENCE-DRIVEN CHRIST-CENTERED PEOPLE-FOCUSED FUTURE-DIRECTED

TMEA STATE BAND CHAIR’S MESSAGE
David Chipman
Professional
development is a
continuous activity
and not a one-time
event. Always involve
yourself in local,
regional, statewide
and national learning
opportunities. We owe
this to our students,
to be the role model of
lifelong learning.
GREETINGS COLLEAGUES! I trust
you are planning to join us at the
TMEA Professional Development
Conference. I’d like to thank our conference
management team for their work in
assembling an outstanding schedule of professional
development sessions and concerts.
Please support our wonderful music
educators by attending as many professional
development sessions as you can. This
year, sessions in the same category will not
overlap schedules. Use these opportunities
to ask questions, listen to ensembles perform,
study performance literature, explore
music industry trends, develop new techniques,
learn new assessments – return to
your students as a refreshed, more accomplished
director than when you last saw
them. Professional development is a continuous
activity and not a one-time event.
Always involve yourself in local, regional,
statewide and national learning opportunities.
We owe this to our students, to be the
role model of lifelong learning.
Throughout the conference, we’ll also
have the opportunity to hear outstanding
concerts from the following instrumental
ensembles who have been chosen to perform
at this year’s conference: Tennessee
Tech Tuba Ensemble, Stewarts Creek Middle
School Band, McGavock High School
Wind Ensemble, Belmont University Symphony
Orchestra, Maryville High School
Band and Franklin High School Wind
Ensemble (TBA Hall of Fame Concert).
Our Tennessee Bandmasters Association
Honors Recital will be 7:30 pm Wednesday
evening and will feature some of our state’s
finest high school soloists and ensembles.
What a wonderful way to begin our TMEA
Conference!
We welcome our 2017 TMEA All-State
Band conductors, Paula Crider and Richard
Saucedo. We know our students will
have amazing rehearsal and performance
experiences with these renowned music
educators. Our 2018 TMEA clinicians will
feature Mr. Richard Floyd, conducting the
11-12 Band and Mr. Greg Bimm, who will
be leading the 9-10 Band. It is an honor to
welcome these outstanding music educators
and to provide such quality performance
opportunities to our students.
As a reminder, the 2017 TMEA State
Concert Festival is Thursday, April 27 –
Friday, April 28, at Austin Peay State University.
The deadline for the submitting the
online form and mailing the registration
fee is March 31.
Congratulations to all of our students
participating in the TMEA All-State Ensembles!
I look forward to seeing you soon;
safe travels and my best to you all.
“What is best in music is not to be found
within the notes.” Gustav Mahler
Tennessee Music Education Assocation | www.tnmea.org | 25

MusicatTech
CHANGE YOUR WORLD.
SCHOLARSHIP
AUDITION DATES:
Friday, January 27, 2017
Friday, February 24, 2017
Friday, March 17, 2017
Cody Hoenie, a junior from Knoxville, Tennessee, is majoring in percussion performance, and studies with Dr. Colin J. Hill. PHOTO BY WARREN LAFEVER.
You have dreams, goals, plans for your future. You want to teach; you
want to perform; you want to study with a world–class faculty . . .
degrees
-
Scholarships
Member of
NASM
since 1967
events
We’d love to meet you
WWW.TNTECH.EDU/MUSIC
Tennessee Tech University
www.
tntech.edu/aa.

TMEA STATE HIGHER EDUCATION CHAIR’S MESSAGE
Ryan Fisher, Ph. D.
THE 2017 TMEA PROFESSIONAL DEVELOPMENT CONFERENCE
is quickly approaching and offers several opportunities for
higher education music educators to gather and share ideas.
Interest sessions ranging from professional portfolio development
to issues concerning LGBT students in music ensembles will
be presented. We especially want to invite all higher education music
instructors to our Higher Education Caucus on Thursday, April 6th.
This caucus is specifically designed for us to share our ideas and dialogue
about our challenges and successes. If that isn’t enough to lure
you, food and beverages will be available, free of charge.
We hope that each university with a CNAfME chapter will arrange
for your students to attend this year’s conference. There are so many
opportunities for your college students to learn from experienced
music educators by attending sessions or observing all-state ensemble
rehearsals. We also need our CNAfME students to volunteer to
preside over interest sessions. TMEA also sponsors special events
just for CNAfME members (some including free food).
I am also happy to announce that a variety of small ensembles
will be performing in the Ryman Lobby and Exhibit Hall throughout
the conference this year. This year’s “Spotlight Chamber Ensemble”
performers are: Austin Peay Clarinet Ensemble, Cornerstone
Brass Quintet (University of Memphis), Fifth Measure (a
cappella ensemble from Houston High School in Germantown),
Meistersingers (Tennessee State University), Bluff City 5 (woodwind
quintet from the University of Memphis), Off Kilter (a cappella
ensemble from Maryville College), The Bright Boys (saxophone
quartet from Maryville High School), Ravenwood High
School Chamber Choir, Greyscale (a cappella ensemble from East
Tennessee State University), Oliver Percussion Ensemble (Oliver
Middle School in Nashville), and the UT Martin Tuba/Euphonium
Ensemble. Most ensembles will perform during the transition
periods in between sessions. Please support the students in these
fine ensembles by attending as many performances as possible on
your way to and from sessions.
Finally, we are excited to feature the TMEA Intercollegiate
Orchestra under the direction of Jeffrey Grogan, Education and
Community Engagement Conductor of the New Jersey Symphony
Orchestra. They will be rehearsing the day before the TMEA
conference begins and will perform during the opening session of
the conference. Please make plans to attend the opening session
so you can hear this amazing ensemble representing university
string students throughout Tennessee.
It is so important for our music educators from K-12 and college
to come together at least one time each year. Our music education
community is vital to this state, and we must gather together to
sharpen our skills, share our ideas, and build and renew relationships.
I look forward to seeing you in Nashville.
We hope that each university with
a CNAfME chapter will arrange for
your students to attend this year’s
conference. There are so many
opportunities for your college students
to learn from experienced music
educators by attending sessions or
observing all-state ensemble rehearsals.
Tennessee Music Education Assocation | www.tnmea.org | 27

TMEA STATE COLLEGIATE NAfME CHAIR’S MESSAGE
Jennifer Vannatta-Hall, Ed. D.
A teacher’s professional learning journey is
an ongoing process throughout their teaching
career. If you are a pre-service teacher, you
have likely heard plenty about the importance of
professional development. It is never too early
to get in the habit of attending professional
development workshops and conferences.
COLLEGIATE SESSIONS AT THE TMEA CONFERENCE
In addition to all of the collegiate sessions
listed below, we will also have a
C-NAfME Social on Thursday night and
the Collegiate Caucus (meeting for college
students) on Friday morning.
GREETINGS COLLEGE STUDENTS!
I hope you are having a wonderful
semester. In the column that follows,
you will find information regarding
our state collegiate officers, the TMEA
Professional Development Conference
(presiding, collegiate sessions, hotel room
sharing, the importance of professional
development), and the College Advocacy
Summit and Hill Day in Washington, D. C.
this summer.
MEET YOUR STATE COLLEGIATE-NAfME OFFICERS
During our 2016 Collegiate-NAfME
(C-NAfME) Fall Kickoff, we held elections
for state officers. They have already been
hard at work assembling information from
our C-NAfME chapters from across the
state. They will also be providing collegiate
leadership at our TMEA Professional Development
Conference in April.
• East Regional President:
Sarah Dixon (UT, Knoxville)
sdixon15@vols.utk.edu
• Middle Regional President:
Garrett Doo (MTSU)
gkd2f@mtmail.mtsu.edu
• West Regional President:
Michael Keenan (UT, Martin)
mictkeen@ut.utm.edu
• Vice President/Public Relations:
Ebonee Woodland (UT, Martin)
ebolwood@ut.utm.edu
• Secretary:
Jenna Kirby (UT, Martin)
lesjkirb@ut.utm.edu
PRESIDING AT THE TMEA PROFESSIONAL
DEVELOPMENT CONFERENCE
I hope you are making plans now to attend
the TMEA Professional Development
Conference in April. Not only will
you gain new ideas for teaching music, but
your registration fee will also be waived if
you volunteer to preside over some of the
conference sessions. TMEA will waive
the conference registration fee for all college
students who volunteer to preside on
either Thursday, April 6 or Friday, April
7. Presiding over a session is easy! You introduce
yourself and your institution and
introduce the presenter(s) of the session.
You help keep track of time during the session
and present a certificate of appreciation
at the end of the session. To reserve
your spot as a session presider, sign up on
the Google doc by going to: https://tinyurl.
com/zaaq2f6. There are a fixed number of
spots for session presiders, so be sure to
sign up as soon as possible!
• “The Human Voice: Function,
Dysfunction, and Keeping it Healthy”
Michele Paynter Paise.
• “Transformation: Preparing for the
Transition from Student-Teacher to
Professional Educator”
Corynn Moore and Matthew Pyles
• “Collegiate Conductor Session”
Jeffrey Grogan
• “Looking for a Job? How to Develop
Your Professional Portfolio”
Sarah Burns
• “Teach Your Students to Practice”
Nancy Summitt
• “LGBT Musicians: A New Status Quo”
Jeffery Chipman and Valerie Speakman
• “Music Teacher Candidates and
Students with Exceptional Needs:
Building Relationships”
Judith Sullivan and Helen Dainty
• “Administration of a High School
Music Program”
Susan Kelly
Please keep in mind that in addition to
the collegiate sessions listed above, additional
sessions will center on choir, band,
orchestra, and general music.
28 | TENNESSEE MUSICIAN | 2017 | Volume 69, No. 3

COLLEGIATE ROOM SHARING AT OPRYLAND HOTEL
The TMEA Professional Development
Conference is April 6-8 at the Gaylord
Opryland Resort and Convention Center
in Nashville. To register for the conference,
you must stay at Opryland. It is a
total of $190/night. To make this expense
more feasible for college students, Michael
Keenan (West Regional President)
has created a room sharing Google doc
for which college students may sign up to
share a room. If four students share a room,
the cost is $50/night, per person. If you are
interested in room sharing with other college
students from across the state, go to
https://tinyurl.com/jyuooun.
• Go “behind the scenes” as we meet
face-to-face with U. S. legislators and
their staff in Senate and Representative
offices on the Hill.
• Meet and network with NAfME state and
national leaders.
• Participate in leadership and advocacy
training that you can take back to share
with your chapter and use in your career.
It’s the chance of a lifetime to carry your
passion for music education to Capitol Hill!
If you are interested in attending, please
contact me via email: jennifer.vannatta-hall@mtsu.edu.
WHY ENGAGE IN PROFESSIONAL DEVELOPMENT?
Professional development refers to
the development of a person in his or her
professional role. A teacher’s professional
learning journey is an ongoing process
throughout their teaching career. If you
are a pre-service teacher, you have likely
heard plenty about the importance of professional
development. It is never too early
to get in the habit of attending professional
development workshops and conferences.
The school district that will one day hire
you will require you to earn professional
development hours as part of your job. The
professional development opportunities
that you can add to your résumé now will
only benefit you in landing that teaching
job in the future!
The TMEA Professional Development
Conference will offer lots of sessions about
all aspects of teaching music: choir, band,
orchestra, and general music, as well as
professional topics. These sessions provide
music educators the opportunity to expand
their skills, develop new teaching strategies,
and deepen their understanding of subject
content. In addition to the plethora of sessions,
attending the conference affords
plenty of opportunities to network with
other music teachers from across the state.
COLLEGIATE ADVOCACY SUMMIT AND HILL DAY
The NAfME National Assembly is an opportunity
to advocate music education for
all. TMEA will financially support three or
four Collegiate NAfME members to attend
the Collegiate Advocacy Summit and Hill
Day in Washington, D. C. on Tuesday, June
27 through Saturday, July 1, 2017. (Hill Day
is Thursday, June 29.) Mentoring and professional
development will empower you
to be the advocate you need to be, for yourself,
and for your future students. Other opportunities
include the following:
Music Education - General/Vocal/Instrumental k-12
Music Theory • Church Music
Keyboard, Instrumental, and Vocal Performance
Music with Electives in an Outside Field
Bachelor of Arts in Music
Carson-Newman offers high academic and performance
standards, low student/faculty ratio, highly qualified,
approachable faculty and quality environment for
learning. Scholarship opportunities available.
Full-Tuition Scholarship Competition is held in late
January. See our website for more details.
Carson-Newman University | Jefferson City, TN 37760
(865) 471-3328 | music@cn.edu | cn.edu/music
Tennessee Music Education Assocation | www.tnmea.org | 29

TMEA STATE EDUCATIONAL TECHNOLOGY CHAIR’S MESSAGE
John Womack
It is my belief that
music technology is
an absolute essential
for students in our
classrooms. With the
short attention span
that many students
have – we must find
new and interesting
ways to engage
them. When we meet
students where they
are, I find that they are
much more likely to
do the task at hand.
THE ONLY CONSTANT IS CHANGE.
Just as technology rapidly moves forward
and surprises us, people’s lives
do the same. Lisa Leopold is a wonderful
educator who has a passion for music
technology. At the end of the year, she
moved out of the country and could no longer
fill the role of State Technology Chair.
I want to thank her for her time and hard
work on the board and wish her well on her
next journey. I also wanted to thank her
for making the transition for me as painless
as possible. She was quick to get me
information as I became oriented with the
website and launching the conference and
hotel registration. I’m excited and honored
to be a part of the TMEA board as the new
State Technology Chair and hope that I can
continue the great work that Lisa has done.
It is my belief that music technology is
an absolute essential for students in our
classrooms. With the short attention span
that many students have – we must find
new and interesting ways to engage them.
When we meet students where they are, I
find that they are much more likely to do
the task at hand. I’ve never seen students
more interested in something as simple
as a tuner than when it is on their phones
making a little smiley at them as they get
that perfect pitch!
As you know, the state conference is
quickly approaching. I’m excited this year
about the excellent sessions that will be
given on music technology. As the schedule
starts to come out, I would encourage you
to look through the technology sessions
that are available. The topics include advanced
recording software, how to record
your ensembles, iPads and what to do with
them, how to use the technology you probably
already have to make your ensemble
better, and so much more! There is something
for everyone from beginners to advanced
technology users to learn.
As in years past, we are partnering with
TI:ME (Technology Institute for Music
Educators) and with Romeo Music to make
all this possible. The technology sessions
will all be in one room and will feature a
Technology Boutique by Romeo Music.
This will include all sorts of great gear that
you can look at and try out and then hopefully
utilize in your classroom!
I’m looking forward to seeing all of you
in April. Being able to see friends and colleagues,
hear great music, and to see some
inspiring sessions on music education can
spark something inside. I always leave excited
about going to teach a new concept or
tell students a new way to do something. I
hope that these sessions will be able to do
that for you and your students too.
See you soon!
30 | TENNESSEE MUSICIAN | 2017 | Volume 69, No. 3

Julie DeRoche
Depends on Yamaha.
“There is a truth in music found underneath the surface, which
I'm able to find using my Yamaha CSVR clarinets. They serve
both my heart and my head through beautiful tone and flexible
color, as well as unmatched reliability and effortless consistency.”
– Julie DeRoche
Professor of Clarinet,
DePaul University School of Music
YamahaMusicUSA
4wrd.it/DeRocheTM
Tennessee Music Education Assocation | www.tnmea.org | 31

TMEA SOCIETY FOR MUSIC TEACHER EDUCATION/
RESEARCH CHAIR’S MESSAGE
Jamila McWhirter, Ph. D.
Exciting Research and Best Practices at TMEA
Join us at the research and best practice sessions
concerning the learning and teaching of music. I encourage
you to take this opportunity to discuss the
latest original research in the field of music education
that may help you find answers to the questions you
have been asking. The topics are numerous, including
pedagogical techniques, music textbook analyzation,
creativity, scheduling issues, curriculum issues, literature
selection, teaching strategies, mentoring and
much more. The authors of these studies are here to
share their original works with you in the hopes of
expanding our knowledge base in the field of music
teaching and learning. This year we have expanded to
also include best practices in the field as well.
SMTE Luncheon at TMEA
This luncheon is open to university music teacher
education faculty, music education supervisors, graduate
students interested in and/or pursuing a degree
in music teacher education, and those who are in partnership
with music teacher education programs. A review
of the first TNSMTE Symposium will be given as
well as details on the upcoming national SMTE Symposium.
Please join us for a fabulous lunch and time
of sharing.
SMTE National Symposium Update
The 2017 Symposium on Music Teacher Education
will be held September 7-9, 2017 in Minneapolis, Minnesota.
The Call for Proposals is now available on the
Symposium website, smte.us/2017. The call encourages
submissions focused on the 2017 Symposium
theme Imagining Possible Futures. Proposals related
to the work of the ASPAs and other topics in music
teacher education are also welcomed. To submit a proposal
online, please follow the directions in the Call for
Proposals and the accompanying Proposal Submission
Form, available on the 2017 Symposium website. Submissions
will be accepted through April 17, 2017.
32 | TENNESSEE MUSICIAN | 2017 | Volume 69, No. 3

April 6, 2017 – TMEA SMTE/Research Events
12:00 – 12:50 p.m. Research/ Best Practice Poster Session
Pedagogical Techniques Band Directors Employ to Develop
Students’ Expressive Performance Abilities
Dr. Michael Butler, University of Wisconsin – Stevens Point
A Conductor’s Guide to Monteverdi’s Messa a quattro voci
Mr. Zachery Richards, Austin Peay State University
Inmate Axel James: Overcoming Addiction through Songwriting
Dr. Catherine Wilson, University of Wisconsin – Stevens Point
Creatively Speaking: The Relationship between Language Acquisition
and the Orff-Schulwerk Approach
Dr. Cathy Dunstan, Tyner Middle Academy and Tyner Academy
A Content Analysis of Elementary Music Textbooks Series to
Identify Sequence and Concept, Folk Music, and Pedagogical
Tools Found in Kodály-Inspired Instruction
Ms. Sarah Burns, Shenandoah University
Differences between Novice and Expert Instrumental Music
Teachers When Observing Middle School Band Rehearsals and
Guided Eye Gaze as a Training Tool
Ms. Danielle Todd, Northern Kentucky University
A Survey Examining Tennessee Music Educator’s Beliefs on Musical
Creativity
Ms. Jessica Barnard, MTSU
A Pilot Study: A Survey of Tennessee High School Band Directors
Concerning Characteristics and Traits which Influence Ensemble
Success
Ms. Ke Ding, MTSU
Gender Trends in Music Education
Ms. Jennifer Carney, Converse College
A Survey of Tennessee Music Educators Concerning Loss of Instructional
Time
Ms. Rebecca Turner, MTSU and Tulip Grove Elementary
A Pilot Study: A Survey of K-12 Tennessee Music Educators Concerning
Songwriting Courses and Curriculum
Ms. Sandra Hamilton, MTSU and Tucker’s Crossroad K-8 School
1:00 – 1:50 p.m. Research/Best Practice Presentation
What’s Lit in Band? A Comparative Examination of Literature
Selections for Concert Band Adjudication
Dr. Patrick Carney, Limestone College
This session explores the longitudinal study of literature selections
for concert band adjudications in Florida and South
Carolina from 2013 to 2017. This presentation will include how
literature is chosen for inclusion on the state lists, the parameters
of how directors can select literature, and the overall results
from the selections including trends in composer and composition
selections from both states. The clinician will provide
opportunities for discussion of the procedures and policies in
Tennessee in comparison to the presented research.
2:00 – 2:50 p.m. Research/Best Practice Presentation
Vocal Techniques Using Natural Projection or Microphones:
What are the Differences? How Do I sing Both “On” and “Off” the
Microphone?
Dr. Catherine Wilson, University of Wisconsin – Stevens Point
This session will discuss several genres, including non-microphone
genres, such as art song, opera, and the folk tune, as
well as microphone genres, including musical theatre, jazz, and
popular music. Participants will experiment with tone production
and physical sensations, as well as how to re-adjust the
breathing mechanism that will help singers to cross over from
one contrasting idiom to another successfully. Strategies for
achieving vocal longevity will also be addressed. This session
will assist teachers in teaching a variety of musical idioms in a
vocally healthy way.
3:00 – 3:50 p.m. Research/Best Practice Presentation
Teaching Strategies Using Mental Models in Music Instruction
Dr. Dave Knowlton, Southern Illinois University – Edwardsville
This session will describe multiple types of mental models that
students have and teaching strategies for eliciting those models
as part of music instruction. The presentation will define and
explicate a teaching approach for mental models of: theory/
technique, artisanship critique, and self as performer and listener.
A teaching approach based upon the use of mental models
can be applicable in teaching one-on-one lessons, small ensembles,
and large ensembles.
4:00 – 4:50 p.m. Research/Best Practice Presentation
A Creative Duet: Mentoring Success for Emerging Music Educators
Dr. Jamila L. McWhirter, MTSU
This session will discuss how pre-service and early career music
educations can be proactive, innovative partners in the mentoring
process. This presentation will examine the research in
the area of music education mentoring and the challenges faced
by early career music educators. Participants will discuss the
importance of informal, organic mentoring partnerships, as
well as those formally assigned. The session will focus on proactive
preparation steps such as setting a course of action and
other aspects of self-exploration.
Psychology of Music and the Journal of Research in Music Education:
The Relationship of 25 Years of Published Works
Dr. Carl Hancock, University of Alabama
April 7, 2017
12:00 – 12:50 p.m. SMTE Luncheon
Tennessee Music Education Assocation | www.tnmea.org | 33

TMEA ADVOCACY AND GOVERNMENT
RELATIONS CHAIR’S MESSAGE
Christopher Dye, Ed. D.
As we expand TMEA’s capacity to engage with policy and better
serve as a voice in support of the crucial role the arts play in
the lives of Tennessee’s students, I encourage every member
to look for ways to become more actively engaged.
TMEA is working to develop more effective
advocacy efforts at the state level, using
a variety of resources to improve our
organization’s awareness of pending legislation,
developing the capacity to disseminate
information quickly, and developing
relationships with policymakers and other
arts supporting groups across Tennessee.
It is my hope that each of these steps will
lead to meaningful advances in the support
music education receives in the state and
the benefits and resources that TMEA provides
to its membership.
Perhaps the most important step TMEA
has taken is becoming more involved in the
legislative process. During last year’s legislative
session, several pieces of legislation
could have had detrimental consequences
for arts education. For instance, a bill was
introduced that would have allowed computer
science courses to count for the fine
arts graduation requirement. Fortunately,
the bill was amended to reclassify those
courses as electives when it was brought
to the floor, but there was no mechanism in
place to provide for arts supporters to voice
their concerns. In response and in cooperation
with the regional music education
associations, the Tennessee Arts Academy,
and the National Association of Music
Merchants, TMEA has contracted the firm
Millsaps Gowan Government Relations.
The firm provides TMEA leadership with
a weekly legislative update and an opportunity
to scrutinize proposed legislation and
raise those concerns as bills are being considered
and amended in committee.
As policy developments arise, the news
is being disseminated through several
new channels. On the TMEA website, the
Advocacy News blog contains updates on
national policy initiatives from NAfME
and resources for local advocacy. The Current
Legislative News blog will be updated
throughout Tennessee’s legislative session
with summaries of pending legislation
that has foreseeable implications for music
education. Also, an email list-serve of
parent group representatives from around
the state has been assembled through the
TMEA website and is available to rally the
support of those critical voices as advocacy
opportunities present themselves.
Finally, TMEA has launched its first
state Hill Day this spring. Modeled after
NAfME’s annual Hill Day in Washington,
D.C., the Hill Day is designed to develop relationships
with state legislators and be responsive
to developing policies during the
legislative session. The inaugural event is
focused on introducing TMEA to the standing
education committees in the General
Assembly and making connections with
the lawmakers most involved in introducing
legislation impacting Tennessee’s schools.
SCHOLARSHIP, COMMUNITY, FAITH
Plans are already in place to grow the event
in future years, including additional performances
and media involvement.
As we expand TMEA’s capacity to engage
with policy and better serve as a voice
in support of the crucial role the arts play
in the lives of Tennessee’s students, I encourage
every member to look for ways to
become more actively engaged. Follow the
updates provided through the blogs, encourage
your parent group to register with
TMEA, and look for opportunities to interact
with your local representatives. With
the implementation of the Every Student
Succeeds Act, the rollout of the new state
music standards, and the continued debate
over the best ways to fund and structure
educational institutions, it will be crucial
that we can act collectively in support of
music in our schools.
MUSIC
Visit WWW.MILLIGAN.EDU/MUSIC for a list of related
majors and audition dates. SCHOLARSHIPS AVAILABLE.
34 | TENNESSEE MUSICIAN | 2017 | Volume 69, No. 3

Department of Music
Learn from a faculty of world-class performers and teachers who truly
care about you, in a state-of-the-art music facility. Our program is
designed to help you create a positive, diverse, and successful life in
music, whether it’s in the classroom or on the stage.
2016-2017 Audition Dates*
Honor Choir Friday, Jan. 20, 4 p.m.
Honor Band Saturday, Jan 28, 8 a.m.
Junior/Senior Day Monday, Feb. 20, All day
Woodwind Day Saturday, Feb. 25, All day
* Additional dates upon request.
Experience
the Music within
Accredited by the National Association of Schools of Music
(731)881-7402 • music@utm.edu • utm.edu/music
Tennessee Music Education Assocation | www.tnmea.org | 35

2017 Professional
Development
Conference Preview
APRIL 5-8, 2017 | GAYLORD OPRYLAND RESORT & CONVENTION CENTER
Brad Turner & James P. Waters, TMEA Conference Co-Chairs
Information subject to change. Download the TMEA EventMobi App from your smartphone store.
https://eventmobi.com/tmeaconf2017/
36 | TENNESSEE MUSICIAN | 2017 | Volume 69, No. 3

TMEA PROFESSIONAL DEVELOPMENT CONFERENCE SCHEDULE
EXHIBIT HALL HOURS
Thursday, April 6th, 2017 – 9:00 AM – 5:00 PM
Friday, April 7th, 2016 – 9:00 AM – 3:00 PM
CONFERENCE MEETINGS, RECEPTIONS, AND RECITALS
Wednesday, April 5th, 2017
12:00 PM TMEA Board Meeting and Luncheon: Magnolia B
6:00 PM Tennessee Division II State Marching Band
Championship Roundtable: TMEA Suite
8:00 PM Tennessee Bandmasters Association Honors Recital:
Presidential Ballroom D
9:00 PM Bethel University All-State Student Reception:
Presidential Lobby
Thursday, April 6th, 2017
9:00 AM Exhibit Hall Grand Opening: Exhibit Hall
9:30 AM General Session Meeting, Intercollegiate Orchestra
Performance, TMEA Awards Presentation:
Presidential Ballroom D
12:00 PM Awards Luncheon: Magnolia B
2:00 PM TN Musician Editorial Board and Staff Meeting:
TMEA Suite
3:00 PM Da Capo Meeting: TMEA Suite
4:00 PM General Music Caucus: Presidential Boardroom A
Exhibitor Reception: Exhibit Hall
5:00 PM Higher Education Meeting: Belmont C
6:00 PM University of Tennessee at Knoxville Alumni & Friends
Reception: Cheekwood GH
Middle Tennessee State University Alumni & Friends
Reception: Magnolia B
Higher Education Caucus: Magnolia A
7:00 PM Phi Beta Mu: TMEA Suite
Collegiate Caucus: Belmont A
8:00 PM Jazz Caucus: Ryman PQR
Collegiate NAfME Social: Cheekwood GH
Friday, April 7th, 2017
8:00 AM ASTA Board Meeting: Magnolia A
9:00 AM Orchestra Caucus: Ryman NO
10:00 AM Choral Caucus: Cheekwood GH
11:00 AM ASTA Membership Meeting: Magnolia B
Tennessee Bandmasters Association Meeting: Ryman
Studio PQR
12:00 PM ASTA Membership Luncheon: Magnolia B
SMTE Luncheon: Magnolia A
TNASBDA Meeting: TMEA Suite
2:00 PM TI:ME for Tennessee - Floyd Richmond: Belmont B
3:00 PM Band Caucus: Ryman Studio PQR
5:00 PM ESTBOA General Meeting: Cheekwood GH
6:00 PM Phi Beta Mu: TMEA Suite
PROFESSIONAL DEVELOPMENT SESSIONS
General Music Professional Development Sessions
Thursday, April 6th, 2017
9:00 AM Exhibit Hall Grand Opening: Exhibit Hall
9:30 AM General Session Meeting, Intercollegiate Orchestra
Performance, TMEA Awards Presentation:
Presidential Ballroom D
12:00 PM Visit the Recorder Buffet - Allen Moody: Presidential
Boardroom A
1:00 PM Re-discovering the Rabbit Hole - Mark Simmons:
Ryman NO
2:00 PM Orchestral Music in the Elementary Classroom -
Elizabeth Carter: Presidential Boardroom A
3:00 PM Let’s Play! Student-Centered Music Lessons for K-3 -
Jennifer Vannatta-Hall, Jessica Barnard, Jessica
Scruggs: Presidential Boardroom A
4:00 PM General Music Caucus: Presidential Boardroom A
5:00 PM The Magic of Kindergarten - Lauren Bain: Presidential
Boardroom A
Friday, April 7th, 2017
9:00 AM Dalcroze Eurhythmics: Meaningful Movement - David
Frego: Presidential Boardroom A
10:00 AM Visit the Exhibits
11:00 AM Make it POP: Tune Your Students’ Ear With Pop Tunes!
- Heather Klossner: Presidential Boardroom A
1:00 PM Dalcroze, Kodaly, Orff: Different Paths to One Destination
- Heather Klossner, David Frego,
Lauren Bain: Presidential Boardroom A
3:00 PM First Time at the Bars: Orff Instruments with Little Ones
- Eric Young: Presidential Boardroom A
Saturday, April 8th, 2017
10:00 AM Music with Margie Orem and Debbie Burton:
Ryman Studio L
Choral Professional Development Sessions
Thursday, April 6th, 2017
8:00 AM The Human Voice: Function, Dysfunction, and Keeping it
Healthy - Michele Paynter Paise: Ryman PQR
9:00 AM Exhibit Hall Grand Opening: Exhibit Hall
9:30 AM General Session Meeting, Intercollegiate Orchestra
Performance, TMEA Awards Presentation:
Presidential Ballroom D
1:00 PM Re-discovering the Rabbit Hole - Mark Simmons:
Ryman NO
2:00 PM Choral Reading Session for All - Jennifer Vannatta-Hall,
Angela Tipps: Ryman NO
3:00 PM Mt. Juliet High School “Ladies of Vocal Excellence”:
Presidential Ballroom BC
7:00 PM Arlington High School Chorale: Presidential Ballroom BC
Tennessee Music Education Assocation | www.tnmea.org | 37

Friday, April 7th, 2017
9:00 AM Bringing Life Back Into the Choral Classroom:
Techniques for Motivating Choral Music Students - Kelly
Rainer: Ryman PQR
10:00 AM Choral Caucus: Cheekwood GH
11:00 AM Lee University “Ladies of Lee” Choir: Presidential
Ballroom BC
12:00 PM Visit the Exhibits
1:00 PM ACDA Undergraduate Choral Conducting Master Class
- Jeffery Ames: Ryman NO
3:00 PM Charting a Course for Success: The First Days, Weeks,
and Months in the Choral Classroom - Vincent Oaks,
Kristen Wiram: Cheekwood GH
5:00 PM Building a Successful Self-Directed Ensemble - Alan
Stevens: Ryman PQR
Orchestra Professional Development Sessions
Thursday, April 6th, 2017
9:00 AM Exhibit Hall Grand Opening: Exhibit Hall
9:30 AM General Session Meeting, Intercollegiate Orchestra
Performance, TMEA Awards Presentation: Presidential
Ballroom D
12:00 PM Collegiate Conductor Session - Jeffrey Grogan: Ryman
Studio PQR
1:00 PM Tennessee ASTA Concerto Project - Sara Johnson:
Belmont A
2:00 PM Visit the Exhibits
5:00 PM Recruiting and Retaining English Language Learners -
Angela Ammerman: Belmont A
9:00 PM Belmont University Symphony Orchestra: Presidential
Ballroom AE
Friday, April 7th, 2017
9:00 AM Orchestra Caucus: Ryman NO
10:00 AM Teaching in Rural Setting - Timothy Heath: Belmont A
3:00 PM Baroque Bowing Party - James Westerfield: Belmont A
Band Professional Development Sessions
Thursday, April 6th, 2017
8:00 AM Theory: It’s Not a 4-Letter Word! Teaching
Musicianship in the Performing World - Margaret
Heron: Belmont A
9:00 AM Exhibit Hall Grand Opening: Exhibit Hall
9:30 AM General Session Meeting, Intercollegiate Orchestra
Performance, TMEA Awards Presentation: Presidential
Ballroom D
12:00 PM Tennessee Tech Tuba Ensemble:
Presidential Ballroom D
1:00 PM Stewarts Creek Middle School Band:
Presidential Ballroom AE
2:00 PM Teaching for Independence - Carole Smith Grooms:
Ryman PQR
3:00 PM Teacher Assessment and Student Growth - GLADIS:
From a User’s and Peer Reviewer’s Perspetive - Carol
King Chipman: Ryman NO
4:00 PM Visit the Exhibits
5:00 PM McGavock High School Wind Ensemble:
Presidential Ballroom AE
6:00 PM Repair: I Can Do All That by Myself ? - Dave Lawson:
Ryman PQR
7:00 PM Digital Audio Basics for Music Educators - Jody
Underwood: Belmont B
8:00 PM Jazz Caucus: Ryman PQR
Friday, April 7th, 2017
8:00 AM Knowing When to Pull the Trigger: The F Attachment
Trombone - Jeff Philips: Belmont A
9:00 AM Maryville High School Band: Presidential Ballroom AE
10:00 AM Unpacking the New Fine Arts Standards:
How to Unwrap Standards and Set Learning Targets
Brad Foust: Ryman PQR
11:00 AM Tennessee Bandmasters Association Meeting:
Ryman Studio PQR
1:00 PM Franklin High School Wind Ensemble (TBA Hall of
Fame Concert): Presidential Ballroom AE
3:00 PM Band Caucus: Ryman Studio PQR
4:00 PM Marketing/Public Relations: Things you Think Aren’t
Important Because They Aren’t Music - Heather Cook:
Ryman NO
5:00 PM I Got a Job! Now What? - Eric Branscome: Belmont C
Technology Professional Development Sessions
Thursday, April 6th, 2017
8:00 AM Logic, Garage Band’s Big Brother - Floyd Richmond:
Belmont B
9:00 AM Exhibit Hall Grand Opening: Exhibit Hall
9:30 AM General Session Meeting, Intercollegiate Orchestra
Performance, TMEA Awards Presentation:
Presidential Ballroom D
12:00 PM Technology Tools for the K-!2 Music Instructor -
including iPads! - Jody Underwood: Belmont B
2:00 PM Improving Your Ensemble with Technology
You Probably Already Own - Curtis Tredway: Belmont B
3:00 PM Four Simple Ways to Record Your Students - Jody
Underwood: Belmont B
5:00 PM Notation Programs - Side by Side - Floyd Richmond:
Belmont B
Friday, April 7th, 2017
10:00 AM Creativity Through Technology: Application for All
Levels - Christopher Dye, Sandra Hamilton, Jessica
Scruggs, Rebecca Turner: Belmont B
11:00 AM Piecing together the Pedagogy Puzzle: Kodaly and Orff
Meet Quaver Music Interactive Technology - Otto
Gross: Belmont B
1:00 PM Classroom Management Made Easy - Otto Gross:
Belmont B
2:00 PM TI:ME for Tennessee - Floyd Richmond: Belmont B
Collegiate Student Professional Development Sessions
Thursday, April 6th, 2017
9:00 AM Exhibit Hall Grand Opening: Exhibit Hall
9:30 AM General Session Meeting, Intercollegiate Orchestra
Performance, TMEA Awards Presentation:
Presidential Ballroom D
12:00 PM Collegiate Conductor Session - Jeffrey Grogan: Ryman
Studio PQR
38 | TENNESSEE MUSICIAN | 2017 | Volume 69, No. 3

1:00 PM Transformation: Preparing for the Transition from
Student Teacher to Professional Educator - Corynn
Moore, Matthew Pyles: Cheekwood GH
2:00 PM Looking for a Job? How to Develop Your Professional
Portfolio - Sarah Burns: Belmont A
3:00 PM Teach Your Students to Practice. Nancy Summitt:
Belmont A
7:00 PM Collegiate Caucus: Belmont A
8:00 PM Collegiate NAfME Social: Cheekwood GH
Friday, April 7th, 2017
9:00 AM LGBT Musicians: A New Status Quo - Jeffery Chipman,
Valerie Speakman: Cheekwood GH
10:00 AM Music Teacher Candidates and Students with
Exceptional Needs: Building Relationships - Judith
Sullican, Helen Dainty: Belmont C
1:00 PM ACDA Undergraduate Choral Conducting Master Class -
Jeffery Ames: Ryman NO
3:00 PM Administration of a High School Music Program - Susan
Kelly: Belmont C
5:00 PM I Got a Job! Now What? - Eric Branscome: Belmont C
TMEA Higher Education and Research
Professional Development Sessions
Thursday, April 6th, 2017
9:00 AM Exhibit Hall Grand Opening: Exhibit Hall
9:30 AM General Session Meeting, Intercollegiate Orchestra
Performance, TMEA Awards Presentation:
Presidential Ballroom D
12:00 PM Poster Research Session: Belmont C
1:00 PM What’s Lit in Band? A Comparative Examination of
Literature Selections for Concert Band Adjudication -
Patrick Carney: Belmont C
2:00 PM Vocal Techniques Using Natural Projection or
Microphones: What are the Differences? How Do I Sing
Both “On” and “Off ” the Microphone? - Catherine Wilson:
Belmont C
3:00 PM Teaching Strategies Using Mental Models in Music
Instruction - Dave Knowlton: Belmont C
4:00 PM A Creative Duet: Mentoring Success for Emerging Music
Educators - Jamila McWhirter: Belmont C
6:00 PM Higher Education Caucus: Magnolia A
Friday, April 7th, 2017
12:00 PM SMTE Luncheon: Magnolia A
TMEA PERFORMANCE GROUPS
2017 TMEA SELECTED PERFORMANCE ENSEMBLES SCHEDULE
Thursday, April 6, 2017
12:00 –12:50 PM Tennessee Tech Tuba Ensemble:
Presidential Ballroom D
1:00 –1:50 PM Stewarts Creek Middle School Band:
Presidential Ballroom AE
3:00 –3:50 PM Mt. Juliet High School “Ladies of Vocal
Excellence”: Presidential Ballroom BC
5:00 –5:50 PM McGavock High School Wind Ensemble:
Presidential Ballroom AE
7:00 –7:50 PM Arlington High School Chorale:
Presidential Ballroom BC
9:00 –9:50 PM Belmont University Symphony Orchestra:
Presidential Ballroom AE
Friday, April 7, 2017
9:00 –9:50 AM Maryville High School Band:
Presidential Ballroom AE
11:00 –11:50 AM Lee University “Ladies of Lee” Choir:
Presidential Ballroom BC
1:00–2:30 PM Franklin High School Wind Ensemble (TBA Hall
of Fame Concert): Presidential Ballroom AE
2017 TMEA SPOTLIGHT CHAMBER ENSEMBLE PERFORMANCES
Thursday, April 6th, 2017
9:00 AM Cornerstone Brass Quintet - University of
Memphis: Exhibit Hall
1:45 PM Off Kilter - Maryville High School A Cappella:
Ryman Lobby
2:45 PM Oliver Percussion Ensemble - Oliver Middle
School: Ryman Lobby
3:45 PM Austin Peay Clarinet Ensemble: Ryman Lobby
4:00 PM Greyscale ETSU A Cappella: Exhibit Hall
Friday, April 7th, 2017
8:45 AM Meistersingers - Tennessee State University:
Ryman Lobby
9:45 AM Tuba/Euphonium Ensemble – University of
Tennessee at Martin: Ryman Lobby
10:45 AM Ravenwood High School Chamber Choir:
Ryman Lobby
11:45 AM Bluff City 5 - University of Memphis:
Ryman Lobby
2:45 PM Fifth Measure - Houston High School
A Cappella: Ryman Lobby
3:45 PM The Bright Boys - Maryville High School:
Ryman Lobby
Tennessee Music Education Assocation | www.tnmea.org | 39

Tennessee
All-State
Ensemble
Conductors
Leslie Blackwell, conductor
Tennessee All-State TTBB
Leslie J. Blackwell is the
Director of Choral Activities
and Professor of Music and
Music Education at Kennesaw
State University where she has
directed choral activities since
1998. Dr. Blackwell’s duties
include conducting the KSU
Men’s Ensemble, KSU Chorale, and KSU Chamber Singers, as well
as teaching advanced choral conducting and literature. A native
of Georgia, Blackwell received the Associate of Arts degree from
Gordon Junior College (1982), the Bachelor of Music in Music
Education from West Georgia College (1984), the Master of Music
from Georgia State University (1991), and the Doctor of Musical
Arts degree from the University of Kentucky (2002).
Sonja Sepúlveda, conductor
Tennessee All-State SSAA
Dr. Sonja Sepúlveda is the
Director of Choral Activities
and teacher of Theory at
Salem College in Winston-
Salem, North Carolina and
conducts the Salem College
Chamber Choir, Chorale, and
SuperTonix. She came to Salem
following positions at Western Kentucky University in Bowling
Green, Kentucky and Brewton Parker College in Mt.Vernon,
Georgia. Graduating from Winthrop University with a Bachelor of
Music Education and Master of Music degrees, Sonja Sepúlveda
earned a Doctor of Musical Arts degree from the University of
South Carolina where she directed the Renaissance Singers and
Carolina Alive.
Thomas Loewenheim, conductor
Tennessee All-State 9th and 10th
Grade String Orchestra
Thomas Loewenheim is
currently Professor of Cello
and Director of Orchestras at
the California State University,
Fresno, and the Music
Director and conductor of the
Youth Orchestras of Fresno.
Loewenheim earned a doctorate in cello performance from the
renowned Jacobs School of Music at Indiana University, where
he studied with Janos Starker and Tsuyoshi Tsutsumi, and was
mentored in conducting by David Effron. He received a master’s
degree from the University of Michigan under Erling Blöndal
Bengtsson and a bachelor’s degree from the Rubin Academy for
Music and Dance in Jerusalem.
Gene Peterson, conductor
Tennessee All-State SATB
Dr. Gene Peterson is the
conductor of the Bethel Choir,
the fourth in its 66-year
history, Director of Choral
Activities, and Artistic Director
of Festival of Christmas at
Bethel University - St Paul,
Minnesota. Peterson came to
Bethel after serving on faculty at the University of Tennessee School
of Music as the Associate Director of Choral Activities. During his
tenure in Knoxville, he was also the Director of Choral Ministries at
Cedar Springs Presbyterian Church. Peterson is a proud graduate
of El Camino College, Chapman University, and the University of
Washington, Seattle.
Giancarlo Guerrero, conductor
Tennessee All-State 11th and 12th
Grade Symphony Orchestra
Giancarlo Guerrero is the
Music Director of the Nashville
Symphony Orchestra, taking
up post in 2009. A natural and
instinctive musician, Guerrero
is a charismatic presence on the
podium. He is a strong advocate
of new contemporary music and has championed the works of
several of America’s most respected composers. He has presented
eight world premieres with the Nashville Symphony and has led
the orchestra to several GRAMMY wins in recent years, including
in 2016 for his recording of works by Stephen Paulus.
40 | TENNESSEE MUSICIAN | 2017 | Volume 69, No. 3

Richard L. Saucedo, conductor
Tennessee All-State 9th and 10th
Grade Concert Band
Richard L. Saucedo recently
retired as Director of Bands and
Performing Arts Department
Chairman at the William H.
Duke Center for the Performing
Arts at Carmel High School in
Carmel, Indiana. During his 31-
year tenure, Carmel bands received numerous state, regional and
national honors in the areas of concert band, jazz band and marching
band. Carmel’s Wind Symphony I performed at the Bands of America
National Concert Band Festival three times (1992, 1999, and 2004)
and was named the Indiana State Champion Concert Band most
recently in 2013. The group also performed at the Midwest Band and
Orchestra Clinic in Chicago during December of 2005. Carmel Jazz
Ensembles have won numerous awards at jazz festivals in Indiana
and throughout the Midwest. The Carmel Marching Greyhounds
have finished in the top ten at the Bands of America Grand National
Championship for the past 17 years and were named BOA National
Champions in the fall of 2005 and again in 2012.
Paula A. Crider, Conductor
Tennessee All-State 11th and 12th
Grade Concert Band
Following a distinguished 33 year
teaching career, Professor Paula
A. Crider continues to share her
passion for making music through
an active schedule as guest
conductor, lecturer, clinician
and adjudicator. She has enjoyed engagements in 47 states, Canada,
Ireland, the United Kingdom, France, Singapore, Italy, Germany,
Spain, Hong Kong and Australia. Professor Crider has taught in the
public schools at all levels, and holds the unique distinction of having
been the first female in the state of Texas to serve as director of
bands at a class 5-A high school. Her Crockett High School Bands in
Austin, Texas enjoyed both state and national recognition for musical
excellence on the concert stage, and were twice named Texas 5A
State Marching Champions.
Wycliffe Gordon, clinician
Tennessee All-State Jazz Band
Musical ambassador and
interpreter of America’s music,
Wycliffe Gordon experiences
an impressive career touring
the world performing hardswinging,
straight-ahead jazz
receiving great acclaim from
audiences and critics alike.
His unmatched modern mastery of the plunger mute and his
exceptional technique and signature sound, has solidified Gordon
a place in musical history known as one of the top trombonists of
his generation.
ALL-STATE REGISTRATION, AUDITIONS,
AND REHEARSAL LOCATIONS
Wednesday, April 5, 2017
4:00 - 6:00 PM Student Registration (All Ensembles):
Presidential Lobby
6:00 PM Judges Meeting: Band and Orchestra:
Presidential Ballroom D
6:30 PM Auditions for all Concert Bands and
Orchestras:
8:00 - 10:00 PM Rehearsal for all Choral and Jazz Band in
designated areas:
STRING AND WOODWIND AUDITION LOCATIONS
Warm-up: Washington B
Violin 1, 9 - 10: Belmont A
Violin 2, 9 - 10: Belmont B
Violin 1, 11 - 12: Magnolia Boardroom A
Violin 2, 11 - 12: Magnolia Boardroom B
Viola 9 - 12: Belmont C
Cello 9 - 12: Cheekwood GH
Bass 9 - 12: Presidential Boardroom A
Flute 9 - 12: Ryman Studio M
Clarinet 9 - 10: Ryman Studio N
Clarinet 11 - 12: Ryman Studio O
Saxes: Ryman Studio R
Double Reeds/Low Reeds: Ryman Studio P
Orchestra Woodwinds: Ryman Studio Q
BRASS AND PERCUSSION AUDITION LOCATIONS
Warm-up: Gaylord Event Center
Trumpet 9 - 12: Ryman Ballroom B
French Horn 9 - 12: Presidential Ballroom C
Trombone 9 - 12: Presidential Ballroom E
Euphonium/Tuba 9 -12: Ryman Ballroom D
Orchestra Brass: Ryman Studio L
Percussion 9 - 12 & Orchestra: Ryman Ballroom F
REHEARSAL LOCATIONS
Tennessee All-State 9th and 10th Grade String Orchestra:
Ryman Ballroom AD
Tennessee All-State 11th and 12th Grade Symphony
Orchestra: Ryman Ballroom CF
Tennessee All-State 9th and 10th Grade Concert Band:
Gaylord Opryland Event Center
Tennessee All-State 11th and 12th Grade Concert Band:
Washington B
Tennessee All-State Jazz Band:
Ryman Studio L
Tennessee All-State SATB Chorus:
Presidential Ballroom C (Wednesday & Thursday morning) &
Presidential Ballroom D (Thursday night & Friday)
Tennessee All-State SSAA Chorus:
Cheekwood ABC (Wednesday Only) & Lincoln CDE
(Thursday & Friday)
Tennessee All-State TTBB Chorus:
Hermitage AB (Wednesday only) & Jackson AB
(Thursday & Friday)
Tennessee Music Education Assocation | www.tnmea.org | 41

TMEA ALL-STATE ENSEMBLE REHEARSAL SCHEDULE
Wednesday, April 5, 2017
4:00 PM - 6:00 PM Registration: Presidential Lobby
6:30 PM Auditions for all Bands and Orchestras
8:00 PM - 10:00 PM Rehearsal for all Choral and Jazz Band
in designated areas
Thursday, April 6, 2017
All Instrumental Ensembles:
9:00 AM - 12:00 PM Rehearsal: Designated areas
2:00 PM - 5:00 PM Rehearsal: Designated areas
7:00 PM - 9:00 PM Rehearsal: Designated areas
All Choral Ensembles:
9:00 AM - 11:30 AM Rehearsal: Designated areas
11:30 AM *College Fair: Exhibit Hall
2:00 PM - 5:00 PM Rehearsal: Designated areas
7:00 PM - 9:00 PM Rehearsal: Designated areas
Friday, April 7, 2017
Band and Orchestra Ensembles:
9:00 AM - 11:30 AM Rehearsal: Designated areas
11:30 AM *College Fair: Exhibit Hall
2:00 PM - 5:00 PM Rehearsal: Designated areas
Jazz Band:
9:00 AM - 11:30 AM Rehearsal: Designated areas
11:30 AM *College Fair: Exhibit Hall
2:00 PM - 4:00 PM Rehearsal: Designated areas
7:30 PM Sound Check / Warm-up:
Presidential Ballroom ABCE
All Choral Ensembles:
9:00 AM-12:00 PM Rehearsal: Designated areas
2:00 PM - 5:00 PM Rehearsal: Designated areas
5:00 PM SSAA Warm-up: Designated areas
5:45 PM SATB Warm-up: Designated areas
6:30 PM TTBB Warm-up: Designated areas
Concert Schedule:
6:00 PM Tennessee All-State SSAA Chorale
6:45 PM Tennessee All-State SATB Choir
7:30 PM Tennessee All-State TTBB Chorus
9:00 PM Tennessee All-State Jazz Band:
Presidential Ballroom ABCE
Saturday, April 8, 2017
Concert Schedule:
9:00 AM Tennessee Treble Choir
10:00 AM Tennessee All-State 9th and
10th Grade String Orchestra
11:00 AM Tennessee All-State 11th and
12th Grade Symphony Orchestra
12:00 PM Tennessee All-State 9th and
10th Grade Concert Band
1:00 PM Tennessee All-State 11th and
12th Grade Concert Band
42 | TENNESSEE MUSICIAN | 2017 | Volume 69, No. 3

TMEA ALL-STATE ENSEMBLE REPERTOIRE
Tennessee All-State SSAA
Sonja Sepúlveda, conductor
Wir eilen mit schwachen doch emsigen Schritte,
Duet from Cantata BWV78
Johann Sebastian Bach
ed. Arthur S. Talmadge
Northern Lights
Ola Gjeilo
Bring Me Little Water, Sylvie
Huddie Ledbetter
arr. Moira Smiley
Skye Boat Song
arr. Lee R. Kessleman
Las Amarillas
arr. Stephen Hatfield
Mornings Innocent
Gwyneth Walker
My Soul’s Been Anchored in the Lord
arr Rollo Dilworth
Tennessee All-State SATB
Gene Peterson, conductor
Exultate Deo
My Spirit Is Uncaged
Great God Almighty
Let My Love Be Heard
The Music of Living
Evermore
Tennessee All-State TTBB
Leslie Blackwell, conductor
Tantsulaul
O Magnum Mysterium
Majiko, Majiko zelena
Grace
Yonder Come Day
Victimae Paschali Laudes
Hans Leo Hassler ed. John Tebay
Paul Rardin
arr. Stacy V. Gibbs
Jake Runestad
Dan Forrest
Aron Acurso
Tennessee All-State 9th and 10th Grade String Orchestra
Thomas Loewenheim, conductor
Andante Festivo
Holberg Suite, Op. 40
I. Praeludium
II. Sarabande
III. Gavotte
IV. Air
V. Rigaudon
Quartet No. 12 in C Minor
Jalousie (Tango Tsigane)
Veljo Tormis
Brian Schmidt
Zdenek Lukas
Mark Hayes
Paul John Rudoi
Michael Engelhardt
Jean Sibelius
Edvard Grieg
Franz Schubert
Jacob Gade
Tennessee All-State 11th and 12th Grade Symphony Orchestra
Giancarlo Guerrero, conductor
Symphony No. 5 in D minor, Op. 47
I. Modearto – Alelgro non troppo
II. Allegretto
III. Largo
IV. Allegro non troppo
Tennessee All-State 9th and 10th Grade Concert Band
Richard L. Saucedo, conductor
Ecstatic Fanfare
Australian Up-Country Tune
Melodious Thunk
A La Machaut
Walking Into History
Tennessee All-State 11th and 12th Grade Concert Band
Paula A. Crider, Conductor
Grand Fanfare
Pacem
High Wire
Danzon No. 2
Semper Fidelis
Tennessee All-State Jazz Band
Wycliffe Gordon, clinician
Dmitri Shostakovich
Steven Bryant
Percy Aldridge Grainger
David Biedenbender
Andrew Boss
Richard Saucedo
Giancarlo Castro D’addona
Robert Spittal
John Mackey
Arturo Marquez arr. Oliver Nickel
John Philip Sousa
What You Dealin’ With
Wycliffe Gordon
Basin Street Blues Spencer Williams, arr. Wycliffe Gordon
Swing That Music Louis Armstrong, arr. Wycliffe Gordon
I Got Rhythm
George Gershwin, arr. Wycliffe Gordon
The Woogie
Wycliffe Gordon
Credit Crawl
(soundtrack from Within Our Gates)
Wycliffe Gordon
Little Liza Jane
traditional arr. Wycliffe Gordon
Tennessee Music Education Assocation | www.tnmea.org | 43

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44 | TENNESSEE MUSICIAN | 2017 | Volume 69, No. 3
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Tennessee Music Education Assocation | www.tnmea.org | 45

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TENNESSEE MUSICIAN ADVERTISER INDEX | VOLUME 69, No. 3
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.
ADVERTISER
Austin Peay State University
(Inside Rear Cover)
Belmont University 13
Carson Newman College 29
East Tennessee State University 3
Lee University
(Inside front Cover)
Middle Tennessee State University 20
Milligan College 34
NAMM Foundation 46
QauverMusic.com 44
Slate Group
(Outside Back Cover)
Smoky Mountain Music Festival 6
Tennessee State University 5
Tennessee Technological University 26
Union University 24
University of Memphis 13
University of Tennessee Chattanooga 45
University of Tennessee at Knoxville Bands 19
University of Tennessee at Knoxville School of Music 12
University of Tennessee at Martin 35
Yamaha Corporation of America 31
Tennessee Music Education Assocation | www.tnmea.org | 47

TMEA BACK THEN
• Then TMEA President W.J. Julian,
in a column titled “The President’s
Letter,” expressed his sincere thanks to
all who made the TMEA Convention,
which was held at the Hyatt Regency
in Knoxville, Tennessee on April 18th
through April 20th (1975). The event was
hailed as a success in all areas, including
financially, as Julian commented. What
was interesting in his message was that
he indicated that the TMEA Board had
met to discuss the possibility of having
the All-State ensembles as a part of the
TMEA Convention. Evidently, the All-
State Ensembles were somehow affiliated
with the TEA (Tennessee Education
Association) Annual Convention. Julian
had a conversation with then TEA
Executive Secretary Dr. Don Sahli who
indicated that TMEA should keep their
god relationship with TMEA by perhaps
having both conferences at the same time
so that TEA and TMEA could benefit
from the all-state ensembles. It was not
indicated in Julian’s letter as to how TEA
was benefitting from having the all-state
ensembles as a part of their convention.
Another interesting note in Julian’s letter
was that the same committee would
soon meet with the Tennessee State
Commissioner of Education Sam Ingram
in regards to the status of the State Music
Supervisor. Julian goes on in his letter to
indicate how unhappy TMEA was with the
lack of leadership being provided for music
education. Julian’s letter furthermore
admonishes the State Music Supervisor
for not attending a single TMEA Board
meeting “in years,” and “has not made
any contribution to the cause of musical
education in this state.” The State Music
Supervisor at the time was Robert Daniel.
• F. Michael Combs submitted a report
on his recent research on the music of
West Africa during the summer of 1973.
Combs received a sponsored research
grant from the Graduate School of the
University of Tennessee at Knoxville. His
article included information on the cultural
experience, as well as information about
his experiences in tribal settings, learning
music from rote and also included pictures
of the various instruments encountered
during his research.
• John Nelson was named as interim
music advisor for the Nashville Symphony
during the 1975-1976 season. This
appointment was made following the
death of Nashville Symphony Conductor
Thor Johnson on January 16th. Nelson
was among several finalists for the position
of music director and conductor. The
Nashville Symphony would ultimately
choose Michael Charry, who would serve
in the role as music director and conductor
of the Nashville Symphony until 1982.
• The Honorable Ray Blanton, former
Governor of the State of Tennessee, issued
a proclamation in support of MENC’s
nationwide observance of the first “Music
in our Schools Day,” which took place on
March 13th, 1975.
• An article titled “Importance of Music
Education in the Elementary School” was
written by Ethel B. Brooks who served
a principal at Aley Elementary School in
the Memphis City Schools. Her article
cited several anecdotes of the importance
of music education in the formative years
of students, and she particularly endorsed
Orff Music with a certificated music
teacher. Her article is just as relevant today
as it was then.
• The Tennessee Bandmasters Association,
under then president L. Howard Nicar
announced that its second annual
convention would be held at the Hyatt
Regency in Knoxville on July 13th through
July 15th, 1975. Annual membership dues
were $2.00.
THE TENNESSEE MUSICIAN (MARCH 1975)
Volume 27, No. 4 – 23 pgs.
W.J. Julian, TMEA President
Lawrence P. Cooney, Editor
48 | TENNESSEE MUSICIAN | 2017 | Volume 69, No. 3

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