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The Official Publication of the Tennessee Music Education Association<br />
The Every Student<br />
Succeeds Act (ESSA)<br />
and What It Means<br />
for Music and Arts<br />
Education<br />
by Marcia Neel<br />
p. 12<br />
Ten Ways to<br />
Use TonalEnergy<br />
With Your Middle<br />
School Band<br />
by Katrina Fitzpatrick<br />
p. 20<br />
The Marching Band<br />
and Hearing Loss<br />
by Haley Greenwald-Gonella<br />
p. 26<br />
VOLUME <strong>69</strong>, NO. 4
䴀 唀 匀 䤀 䌀<br />
䄀 䌀 栀 爀 椀 猀 琀 ⴀ 挀 攀 渀 琀 攀 爀 攀 搀 甀 渀 椀 瘀 攀 爀 猀 椀 琀 礀 椀 渀 猀 漀 甀 琀 栀 攀 愀 猀 琀 吀 攀 渀 渀 攀 猀 猀 攀 攀<br />
眀 椀 琀 栀 昀 愀 挀 甀 氀 琀 礀 Ⰰ 挀 甀 爀 爀 椀 挀 甀 氀 甀 洀 Ⰰ 昀 愀 挀 椀 氀 椀 琀 椀 攀 猀 Ⰰ 愀 渀 搀 漀 瀀 瀀 漀 爀 琀 甀 渀 椀 琀 椀 攀 猀<br />
琀 漀 瀀 爀 攀 瀀 愀 爀 攀 礀 漀 甀 昀 漀 爀 礀 漀 甀 爀 最 漀 愀 氀 猀 愀 猀 琀 漀 洀 漀 爀 爀 漀 眀 ᤠ 猀 洀 甀 猀 椀 挀 椀 愀 渀 ⸀<br />
唀 一 䐀 䔀 刀 䜀 刀 䄀 䐀 唀 䄀 吀 䔀 䐀 䔀 䜀 刀 䔀 䔀 匀<br />
䈀 愀 挀 栀 攀 氀 漀 爀 漀 昀 䄀 爀 琀 猀 椀 渀 䴀 甀 猀 椀 挀 ∠ 䈀 愀 挀 栀 攀 氀 漀 爀 漀 昀 䴀 甀 猀 椀 挀 䔀 搀 甀 挀 愀 琀 椀 漀 渀 ∠ 䈀 愀 挀 栀 攀 氀 漀 爀 漀 昀 䴀 甀 猀 椀 挀 椀 渀 倀 攀 爀 昀 漀 爀 洀 愀 渀 挀 攀<br />
䈀 愀 挀 栀 攀 氀 漀 爀 漀 昀 䴀 甀 猀 椀 挀 椀 渀 䌀 栀 甀 爀 挀 栀 䴀 甀 猀 椀 挀 ∠ 䈀 愀 挀 栀 攀 氀 漀 爀 漀 昀 匀 挀 椀 攀 渀 挀 攀 ⴀ 䴀 甀 猀 椀 挀 䈀 甀 猀 椀 渀 攀 猀 猀<br />
䜀 刀 䄀 䐀 唀 䄀 吀 䔀 䐀 䔀 䜀 刀 䔀 䔀 匀<br />
䴀 愀 猀 琀 攀 爀 漀 昀 䴀 甀 猀 椀 挀 ⴀ 䔀 搀 甀 挀 愀 琀 椀 漀 渀 ∠ 䴀 愀 猀 琀 攀 爀 漀 昀 䴀 甀 猀 椀 挀 ⴀ 倀 攀 爀 昀 漀 爀 洀 愀 渀 挀 攀<br />
䴀 愀 猀 琀 攀 爀 漀 昀 䴀 甀 猀 椀 挀 ⴀ 䌀 漀 渀 搀 甀 挀 琀 椀 渀 最 ∠ 䴀 愀 猀 琀 攀 爀 漀 昀 䌀 栀 甀 爀 挀 栀 䴀 甀 猀 椀 挀<br />
䰀 䔀 䔀 唀 一 䤀 嘀 䔀 刀 匀 䤀 吀 夀 ⸀ 攀 搀 甀 ⼀ 洀 甀 猀 椀 挀
TENNESSEE MUSICIAN EDITORIAL STAFF<br />
Michael W. Chester<br />
Managing Editor and Advertising Manager<br />
Justin T. Scott<br />
Associate Editor<br />
Laura Boucher<br />
Associate Style Editor<br />
Jazmin Jordan<br />
Social Media Director<br />
Allison Segel<br />
Pre-Production Editor<br />
Contributing Editors<br />
Matthew Clark<br />
Susan Mullen<br />
Doug Phillips<br />
Carol King-Chipman<br />
Jerome Souther<br />
PUBLISHED BY SLATE GROUP<br />
6024 45th Street<br />
Lubbock, Texas 79407<br />
(800) 794-5594 office<br />
(806) 794-1305 fax<br />
Rico Vega<br />
Director of Creative Services<br />
Taylor Sutherland<br />
Graphic Design<br />
Ian Spector<br />
Account Executive<br />
TABLE OF CONTENTS | 2017 | VOLUME <strong>69</strong>, NO. 4<br />
Prelude - A Message from the Editor 4<br />
Micael Chester<br />
TMEA President’s Message 6<br />
Johnathan Vest, Ed. D.<br />
TMEA - By the Numbers/Verbatim 10<br />
Matthew Clark<br />
FEATURED ARTICLES<br />
The Every Student Succeeds Act (ESSA) and What<br />
It Means for Music and Arts Education 12<br />
Marcia Neel<br />
Ten Ways to Use TonalEnergy With Your Middle School Band 20<br />
Katrina Fitzpatrick<br />
The Marching Band and Hearing Loss 26<br />
Haley Greenwald-Gonella<br />
Tennessee <strong>Musician</strong> Advertiser Index 35<br />
TMEA Back Then 36<br />
All editorial materials should be sent to: Michael Chester, Managing<br />
Editor (615-873-0605) E-mail: editor@tnmea.org.<br />
Submit materials by e-mail in Microsoft Word format.<br />
Advertising: Information requests and ad orders should be<br />
directed to: Michael Chester, Managing Editor (615-<br />
873-0605) e-mail: editor@tnmea.org. All advertising<br />
information is on the TMEA web site, www.tnmea.org.<br />
Deadlines for advertisement orders and editorial materials:<br />
Issue <strong>No</strong>. 1 – Deadline: August 15 (in home delivery<br />
date October 15); Issue <strong>No</strong>. 2 – Deadline: October 15 (in<br />
home delivery date December 15); Issue <strong>No</strong>. 3 – Deadline:<br />
December 15 (in home delivery date March 15);<br />
Issue <strong>No</strong>. 4 – Deadline: February 15 (in home delivery<br />
date May 15)<br />
Tennessee <strong>Musician</strong> is copyrighted. Reproduction in<br />
any form is illegal without the express permission of<br />
the editor.<br />
Postmaster: Send address changes to: Tennessee <strong>Musician</strong>,<br />
c/o National Association for Music Education<br />
(NAfME), 1806 Robert Fulton Drive, Reston, VA<br />
20191-4348.<br />
<strong>No</strong>n-Profit 501(c)(3) Organization U.S. Postage Paid<br />
at Lubbock, Texas. ISSN Number 0400-3332; EIN<br />
number 20-3325550<br />
20<br />
26<br />
12
TMEA BOARD AND COUNCIL<br />
TMEA OFFICERS 2016-2017<br />
TMEA EXECUTIVE DIRECTOR:<br />
Ron Meers<br />
execdirector@tnmea.org<br />
TMEA PRESIDENT:<br />
Johnathan Vest, Ed. D.<br />
president@tnmea.org<br />
TMEA PRESIDENT-ELECT:<br />
Lafe Cook<br />
pres-elect@tnmea.org<br />
TMEA PAST-PRESIDENT:<br />
Jeff Phillips, Ed. D.<br />
jeffrey.phillips@sumnerschools.org<br />
CONFERENCE MANAGEMENT TEAM<br />
TMEA CONFERENCE CO-CHAIR:<br />
Brad Turner<br />
brad.turner@acsk-12.org<br />
TMEA CO-CONFERENCE CHAIR:<br />
Paul Waters<br />
paulwaters.tmea@gmail.com<br />
TMEA CONFERENCE EXHIBITS CHAIR:<br />
Jo Ann Hood<br />
jhood10105@aol.com<br />
TMEA CONFERENCE REGISTRATION CHAIR:<br />
Mark Garey<br />
mgarey86@comcast.net<br />
TMEA CONFERENCE PERFORMANCE<br />
GROUP CHAIR:<br />
John Mears<br />
mearsj@rcschools.net<br />
BOARD OF DIRECTORS<br />
TMEA STATE GENERAL MUSIC CHAIR:<br />
Linzie Mullins<br />
genmusicchair@tnmea.org<br />
TMEA STATE CHORAL CHAIR:<br />
Gerald Patton<br />
pattong@rcschools.net<br />
TMEA STATE ORCHESTRA CHAIR:<br />
Michelle Clupper<br />
michelle.clupper@knoxschools.org<br />
TMEA STATE BAND CHAIR:<br />
David Chipman<br />
banddir@bellsouth.net<br />
TMEA STATE HIGHER EDUCATION CHAIR:<br />
Ryan Fisher, Ph. D.<br />
rfisher3@memphis.edu<br />
TMEA COUNCIL<br />
WTGMEA PRESIDENT:<br />
Linzie Mullins<br />
genmusicchair@tnmea.org<br />
WTGMEA PRESIDENT-ELECT:<br />
Information not received<br />
WTVMEA PRESIDENT:<br />
Lalania Vaughn<br />
lvaughn@rebelmail.net<br />
WTVMEA PRESIDENT-ELECT:<br />
Christopher Davis<br />
davischristophert@gmail.com<br />
WTSBOA PRESIDENT:<br />
Stephen Price<br />
prices@gcssd.org<br />
WTSBOA PRESIDENT-ELECT:<br />
Ollie Liddell<br />
ollie_liddell@hotmail.com<br />
MTGMEA PRESIDENT:<br />
Alexis Yatuzis-Derryberry<br />
derryberrya@rcschools.net<br />
MTGMEA PRESIDENT-ELECT:<br />
Information not recived<br />
MTVA PRESIDENT:<br />
Michael Choate<br />
choatem@pcsstn.com<br />
TMEA STATE COLLEGIATE NAFME CHAIR:<br />
Jennifer Vannatta-Hall, Ed. D.<br />
jennifer.vannatta-hall@mtsu.edu<br />
TMEA STATE EDUCATIONAL<br />
TECHNOLOGY CHAIR:<br />
John Womack<br />
webmaster@tnmea.com<br />
TMEA PUBLICATIONS EDITOR AND<br />
ADVERTISING MANAGER:<br />
Michael Chester<br />
editor@tnmea.org<br />
TMEA PUBLICATIONS ASSOCIATE EDITOR:<br />
Justin Scott<br />
justin.scott@tcsedu.net<br />
TMEA ADVOCACY AND GOVERNMENT<br />
RELATIONS CHAIR:<br />
Christopher Dye, Ed. D.<br />
christopher.dye@mtsu.edu<br />
MTSBOA PRESIDENT:<br />
David Aydelott<br />
president@mtsboa.org<br />
MTSBOA PRESIDENT-ELECT:<br />
Debbie Burton<br />
dlburton98@gmail.com<br />
ETGMEA PRESIDENT:<br />
Margaret Moore<br />
mamcmoore57@aol.com<br />
ETGMEA PRESIDENT-ELECT<br />
Marcus Smith<br />
marcus.smith@knoxschools.org<br />
ETVA PRESIDENT:<br />
Kenton Deitch<br />
kenton.deitch@knoxschools.org<br />
ETVA PRESIDENT-ELECT:<br />
Stephanie Coker<br />
scoker@acs.ac<br />
ETSBOA PRESIDENT:<br />
Gary Wilkes<br />
gwilkes428@gmail.com<br />
ETSBOA PRESIDENT-ELECT:<br />
Alan Hunt<br />
ahunt@bradleyschools.org<br />
ALL-STATE MANAGEMENT TEAM<br />
<strong>TN</strong> ALL-STATE CHORAL GENERAL CHAIR:<br />
Amanda Ragan<br />
aragan@ortn.edu<br />
ENSEMBLE CHAIRS<br />
TREBLE HONOR CHOIR CHAIR:<br />
Tiffany Barton<br />
tntreblechoir@gmail.com<br />
<strong>TN</strong> ALL-STATE SATB ENSEMBLE CHAIR:<br />
Lauren Ramey<br />
lauren.ramey@wcs.edu<br />
<strong>TN</strong> ALL-STATE SSAA CHORALE ENSEMBLE CHAIR:<br />
Amanda Short<br />
amandalovellshort@gmail.com<br />
<strong>TN</strong> ALL-STATE TTBB CHORUS ENSEMBLE CHAIR:<br />
Johnny Kimbrough<br />
johnny.kimbrough@jcseagles.org<br />
<strong>TN</strong> ALL-STATE 9TH - 10TH GRADE STRING<br />
ORCHESTRA CHAIR:<br />
Andy Smith<br />
andy.smith@sumnerschools.org<br />
PROJECT CHAIRS<br />
TMEA MEMBERSHIP CHAIR:<br />
Position unfulfilled at this time<br />
TMEA GUITAR EDUCATION CHAIR:<br />
Chip Henderson<br />
paul.henderson@mtsu.edu<br />
TMEA JAZZ EDUCATION POLICY CHAIR:<br />
Richard Ripani<br />
richard.ripani@mnps.org<br />
TMEA SOCIETY FOR MUSIC TEACHER<br />
EDUCATION CHAIR:<br />
Jamila L. McWhirter, Ph. D.<br />
jamila.mcwhirter@mtsu.edu<br />
TMEA MUSIC MERCHANTS<br />
INDUSTRY CHAIR:<br />
Rick DeJonge<br />
rick.dejonge@khsmusic.com<br />
<strong>TN</strong> ALL-STATE INSTRUMENTAL<br />
GENERAL CHAIR:<br />
Martin McFarlane<br />
martin.mcfarlane@tcsedu.net<br />
<strong>TN</strong> ALL-STATE 11TH - 12TH GRADE SYMPHONIC<br />
ORCHESTRA CHAIR:<br />
Jessica Peck<br />
peck_j@hcde.org<br />
<strong>TN</strong> ALL-STATE 9TH - 10TH GRADE CONCERT<br />
BAND CHAIR:<br />
J.R. Baker<br />
john.baker@rcstn.net<br />
<strong>TN</strong> ALL-STATE 11TH - 12TH GRADE CONCERT<br />
BAND CHAIR:<br />
Carter <strong>No</strong>blin<br />
noblinc@wcschools.com<br />
<strong>TN</strong> ALL-STATE JAZZ BAND CHAIR:<br />
Cord Martin<br />
corderyl.martin@gmail.com<br />
TMEA WEBMASTER:<br />
John Womack<br />
webmaster@tnmea.org<br />
TMEA TRI-M CHAIR:<br />
Todd Shipley<br />
todd.shipley@mnps.org<br />
TMEA MUSIC IN OUR SCHOOLS<br />
MONTH CHAIR:<br />
Tiffany Barton<br />
tntreblechoir@gmail.com<br />
TMEA HISTORY AND ARCHIVES CHAIR:<br />
Position unfulfilled at this time<br />
TMEA RETIRED TEACHERS CHAIR:<br />
Bobby Jean Frost<br />
bjfrost@aol.com<br />
2 | TENNESSEE MUSICIAN | 2017 | <strong>Vol</strong>ume <strong>69</strong>, <strong>No</strong>. 4
Compose<br />
Your Future<br />
Performance, Education,<br />
Jazz Studies<br />
● Bachelor of Music in<br />
Music Education<br />
(Five-year program)<br />
● Bachelor of Music in<br />
Performance<br />
(Four-year program)<br />
● Bachelor of Music in<br />
Jazz Studies<br />
(Four-year program)<br />
Complete information<br />
can be found on the<br />
ETSU Department of<br />
Music website under<br />
“Degree Programs.”<br />
www.etsu.edu/music<br />
Department of Music<br />
Department of Music<br />
PO Box 70661<br />
Johnson City, Tennessee 37614<br />
423-439-4276
PRELUDE - A MESSAGE FROM THE EDITOR<br />
Michael Chester<br />
HAPPY JUNE EVERYONE! I hope<br />
everyone survived the 2016-2017<br />
academic year. Even more so I hope<br />
everyone is enjoying time off now<br />
and not reading this editorial. For<br />
the remaining few die-hard fans still reading<br />
this, let us briefly recap the last month.<br />
It was T.S. Eliot who penned in his epic poem<br />
The Wasteland “April is the cruelest month.”<br />
I’m going to have to go out on a limb here<br />
and disagree with Mr. Eliot. I believe if Mr.<br />
Eliot were alive today and a member of our<br />
profession, that perhaps The Wasteland<br />
would have taken on a whole new meaning.<br />
For myself, and to the many I have spoken to<br />
in recent years, the month of May is, in fact,<br />
the cruelest month of them all.<br />
Typically, the month of May signals an<br />
end to the cold weather. It also signals the<br />
subconscious countdown that all educators<br />
revel in enjoyment. The days cannot end fast<br />
enough. It seems that the more years I have<br />
been teaching, the more that the month of<br />
May has become filled with so many things<br />
that need to get done. It’s as if we’ve managed<br />
to pack three months of work into one single<br />
month. Has it always been like this or am I<br />
just more aware of it?<br />
The month of May is like a mad sprint.<br />
From the holding patterns that school-wide<br />
testing has forced us to navigate, to-end-ofyear<br />
concerts, parent meetings for the next<br />
year, inventory, graduation performances,<br />
checklists and endless paperwork, there aren’t<br />
enough hours in the day and not enough<br />
days in the month. For those of you who also<br />
happen to be parents of school-aged children<br />
or younger, my hat is off to you. I have no idea<br />
how you seem to manage that too.<br />
The reality of the situation is that in the end,<br />
no matter what the tasks are still left to complete,<br />
we all manage to get it done. Even if it<br />
requires an enormous amount of resolve, sarcasm,<br />
humor, and lots of profanity. In the end,<br />
I keep coming back to the fact that May also<br />
means one more notch in the belt of service.<br />
It requires me to look back and forward at the<br />
same time. When I first started this journey, it<br />
was extremely hard to imagine being a music<br />
educator for a thirty-year time span. Having<br />
just finished my eleventh year of teaching<br />
it’s hard to imagine only having 19 years left.<br />
I think to myself, I want and need more time.<br />
I keep going back to a conversation I once<br />
had with a prominent and well-respected<br />
music educator several years ago. He was<br />
serving as and adjudicator for the TMEA<br />
State Concert Performance Assessment. I<br />
had volunteered to pick him up at the airport<br />
(as an aside, I cannot tell you how valuable<br />
this was – you would think there would be<br />
a waiting list for volunteers to have one-onone<br />
time with such great music educators).<br />
Among the many topics discussed was his<br />
impending retirement. His feeling was that<br />
teachers, and in particular music teachers,<br />
have a shelf life. It is during this time that a<br />
music teacher can decide to accomplish as<br />
much or as little as their ambition will allow.<br />
Past that shelf life, one is on borrowed time,<br />
which he confessed was where he assessed<br />
his current career status to be. The notion<br />
didn’t resonate with me then. It does resonate<br />
with me now.<br />
Today’s generation of transient millennials<br />
and quick-fix, instant gratification types, and<br />
even some of the youngest members of Generation<br />
X are said to change careers and jobs<br />
at rates that would be considered alarming<br />
to previous generations. In fact, according to<br />
research from Gallup, a recent report on the<br />
Millennial generation reveals that workforce<br />
and job engagement is extremely low, with a<br />
finding of 29% cited as being engaged at work.<br />
Gallup further breaks this number down by indicating<br />
that 3 out of 10 millennial generation<br />
workers emotionally and behaviorally connect<br />
to their job and company. If we were to take this<br />
research and apply it to education as a profession,<br />
we would either be very shocked or not<br />
shocked at all. Gallup goes on to cite that part<br />
of the millennial generation has, in essence,<br />
“checked out.” Behavioral indications reveal little<br />
to no passion in their work, only indifference<br />
to it. They show up and go through the motions,<br />
only putting in their hours. <strong>No</strong>w, this is certainly<br />
not exclusive behavior to the millennial<br />
generation. Simply put, all of us are looking for<br />
that gig that feels meaningful. Maybe some are<br />
looking for some incentivization too. Our math<br />
and science colleagues might know a thing or<br />
two about that.<br />
In the end, I think music education is a<br />
profession where the only true incentive is<br />
an altruistic sense of contentment. It’s not<br />
for everyone and certainly not for those with<br />
a lack of heart.<br />
MUSIC EDUCATION<br />
IS A PROFESSION<br />
WHERE THE ONLY<br />
TRUE INCENTIVE IS AN<br />
ALTRUISTIC SENSE OF<br />
CONTENTMENT<br />
Like the month of May and all the many<br />
tasks that we were asked or required to complete,<br />
it would seem that the short time span<br />
of our effectiveness as music educators is<br />
filled with so many goals and achievements to<br />
get accomplished before our shelf life expires<br />
and we find ourselves on borrowed time.<br />
As we enjoy the summer months ahead,<br />
I hope that each of you can find ways of reconnecting<br />
with what engages and motivates<br />
your passion as a music educator.<br />
Michael Chester, Managing Editor<br />
4 | TENNESSEE MUSICIAN | 2017 | <strong>Vol</strong>ume <strong>69</strong>, <strong>No</strong>. 4
TMEA PRESIDENT’S MESSAGE<br />
Johnathan Vest, Ed. D.<br />
It is important to celebrate the things that<br />
have worked well and been successful, while<br />
also acknowledging the things that need<br />
improvement, or just outright didn’t work.<br />
ANOTHER SCHOOL YEAR HAS COME AND GONE. This year<br />
has been filled with festivals, competitions, concerts, showcases,<br />
conferences, musicals as well as formative and summative<br />
assessments. <strong>No</strong>w is the time to take stock, review our work and plan<br />
for the next year. We all do this. In my classroom, for example, I create<br />
a spreadsheet with two columns: “Celebrate Successes” and “Do<br />
Better”. It is important to celebrate the things that have worked well<br />
and been successful, while also acknowledging the things that need<br />
improvement, or just outright didn’t work.<br />
The same is true of our work here at TMEA. Below, I would like<br />
to outline some things that I believe have been successful, as well as<br />
things that we would like to improve upon.<br />
CELEBRATE SUCCESSES<br />
Anytime you have an event as large as the TMEA Professional Development<br />
Conference, you are going to have successes and failures. Let’s<br />
talk about the successes first, and, when doing so, I always start with<br />
people. Dedicated, passionate and talented people are what makes an<br />
event run smoothly. Thanks to our board, council and numerous volunteers,<br />
I believe our conference is getting better every year. We are beginning<br />
to become comfortable with the space at Gaylord Opryland and<br />
to truly understand our needs there. Paul Waters does an amazing job<br />
of organizing our space, and he has plans to continue to improve how<br />
we used the space we are allotted. We had a first-rate slate of conductors<br />
and clinicians, and all of our ensembles sounded incredible! (Did<br />
you hear the All-State Jazz Band singing in four part-harmony?) Our<br />
performances and presenters were all first-rate, and it was a great time<br />
share in community with our fellow teachers.<br />
We hired the lobbying firm of Milsap & Gowan to represent our interests<br />
at the Tennessee Capitol. The addition of Dr. Christopher Dye<br />
to our board has been a huge win for us, as we now have someone who<br />
is solely dedicated to advocacy issues in the state. We have already<br />
had our first success in this area—your emails and phone calls helped<br />
to stop a bill that would have required another year of history at the<br />
high school level, potentially reducing students’ abilities to participate<br />
in the arts. We had our first ever meetings with representatives<br />
at the Tennessee capitol, along with some fine performances from<br />
Madison Creek Elementary and Hendersonville High School.<br />
• Our collegiate students continued to be involved with the conference<br />
and in advocacy efforts.<br />
• Our fantastic Executive Director, Ron Meers!<br />
DO BETTER<br />
While the conference was very successful, we still have some improvements<br />
to make. In addition to the laborious check-in process,<br />
we need to try and ensure that people are getting the rooms they<br />
booked, and are not being charged in advance of their stay at the hotel.<br />
We are already monitoring this with Gaylord personnel and will keep<br />
you updated. We are also continuing to look at space to makes sure<br />
that each ensemble has a room that is appropriate for its rehearsal.<br />
I would like to see more people involved in the advocacy process,<br />
whether in official or unofficial roles. The true difference-maker in<br />
advocacy efforts is each of us developing a personal relationship with<br />
our legislators, so they know that, each time something related to education<br />
and music education is introduced, that they will hear not only<br />
from TMEA, but from YOU, the constituents.<br />
Other “do-better” items:<br />
• Timely communication from the president with all of members<br />
via email and the website regarding pertinent information<br />
• Update our strategic plan and begin to work on finding office<br />
space for our Executive Director<br />
• If deemed successful, find more ways to fund continuation of our<br />
partnership with the lobbying firm<br />
I know there are other items on both lists I’ve neglected to mention—a<br />
comprehensive list would be too exhaustive for this publication;<br />
however, I want to personally thank those who have emailed<br />
throughout the course of this year to share your concerns, as well as<br />
your praise for things that have gone well. With your help, we are<br />
dedicated to continuous improvement of this organization. Our ultimate<br />
goal is to serve our teachers, who in turn serve the students of<br />
our state.<br />
I hope everyone has a great summer, filled with vacations, family<br />
time, alone time, and engaging professional development. Thanks for<br />
helping make this a great year for TMEA!<br />
Other successes:<br />
• We have begun a partnership with the Country Music Association<br />
that I hope will be fruitful.<br />
6 | TENNESSEE MUSICIAN | 2017 | <strong>Vol</strong>ume <strong>69</strong>, <strong>No</strong>. 4
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Tennessee Music Education Assocation | www.tnmea.org | 7
Some are born with<br />
If authenticity had a<br />
soul, you would find it<br />
in Memphis. Creativity<br />
flows through our veins.<br />
This is the kind of city and<br />
university where original<br />
people are elevating the art<br />
of music in unforgettable<br />
ways. If you were born<br />
with music in your blood,<br />
you belong at the UofM.<br />
DEGREES OFFERED<br />
B.M., M.M., D.M.A., Ph.D.<br />
AUDITION DATES<br />
Dec. 2, 2017<br />
Feb. 3, 2018<br />
Feb. 17, 2018<br />
Feb. 24, 2018<br />
in their souls<br />
memphis.edu/music<br />
901.678.3766
Department of Music<br />
Learn from a faculty of world-class performers and teachers who truly<br />
care about you, in a state-of-the-art music facility. Our program is<br />
designed to help you create a positive, diverse, and successful life in<br />
music, whether it’s in the classroom or on the stage.<br />
2016-2017 Audition Dates*<br />
Honor Choir Friday, Jan. 20, 4 p.m.<br />
Honor Band Saturday, Jan 28, 8 a.m.<br />
Junior/Senior Day Monday, Feb. 20, All day<br />
Woodwind Day Saturday, Feb. 25, All day<br />
* Additional dates upon request.<br />
Experience<br />
the Music within<br />
Accredited by the National Association of Schools of Music<br />
(731)881-7402 • music@utm.edu • utm.edu/music<br />
Tennessee Music Education Assocation | www.tnmea.org | 9
BY THE NUMBERS<br />
Maximum class size<br />
35<br />
30<br />
25<br />
20<br />
15<br />
CLASS SIZE DATA<br />
K-3 4-6 7-12<br />
Grade Level<br />
“Class size limits may be exceeded in such<br />
areas as typewriting and instrumental and<br />
vocal music classes, provided that the<br />
effectiveness of the instructional program<br />
in these areas is not impaired.”<br />
TENNESSEE ACADEMIC<br />
STANDARDS FOR<br />
FINE ARTS EDUCATION<br />
(BEGINNING FALL 2018)<br />
FOUR<br />
Artistic Processes replacing the 1994 National Standards In music, the<br />
Artistic Processes—Perform, Create, Respond, and Connect—contain<br />
foundational skills that encompass and surpass the nine National<br />
Standards implemented for the past 20+ years. These apply in ensemble<br />
and general music classes.<br />
10 | TENNESSEE MUSICIAN | 2017 | <strong>Vol</strong>ume <strong>69</strong>, <strong>No</strong>. 4
PLANNING TIME DATA<br />
37.5<br />
hours<br />
TYPICAL WORK HOURS IN A PUBLIC<br />
SCHOOL TEACHER’S WORK WEEK.<br />
TENNESSEE PUBLIC SCHOOLS<br />
CHICAGO PUBLIC SCHOOLS<br />
2.5 MINUMUM<br />
HOURS<br />
of planning hours per week required.<br />
May be divided on a daily or other basis.<br />
6.67%<br />
MINUMUM<br />
PERCENTAGE<br />
of time required for teacher planning<br />
in a 37.5 hour workweek<br />
(Source: TCA 0520-1-3-.03)<br />
5.33 PLANNING<br />
HOURS<br />
per week for elementary teachers<br />
8.33 PLANNING<br />
HOURS<br />
per week for secondary teachers<br />
(Source: http://ww-<br />
w.nctq.org/districtPolicy/-<br />
contractDatabase/districtReport.do?id=4)<br />
FROM THE INTRODUCTION<br />
“Literacy is an important concept in all academic areas. Rather than being a stand-alone subject area, literacy provides a pathway for cognition,<br />
enabling students to learn content efficiently and express themselves effectively. The arts, like all subject areas, help to reinforce literacy through<br />
the careful study of discipline specific vocabulary…it would be counter productive for school leaders to suggest that an arts teacher limit the<br />
implementation of the Tennessee Standards for Arts Education during instructional time in order to reinforce learning in English language arts<br />
classrooms. Arts teachers’ instructional efforts are best leveraged when creating synergy towards the multiple meanings of literacy instruction…”<br />
Tennessee Music Education Assocation | www.tnmea.org | 11
THE EVERY STUDENT SUCCEEDS ACT (ESSA) AND WHAT<br />
IT MEANS FOR MUSIC AND ARTS EDUCATION<br />
by Marcia Neel<br />
S. 1177-298 (52): Definitions<br />
(Well-Rounded Education)<br />
The term “well-rounded education” means courses,<br />
activities, and programming in subjects such as English,<br />
reading or language arts, writing, science, technology,<br />
engineering, mathematics, foreign languages, civics<br />
and government, economics, arts, history, geography,<br />
computer science, music, career and technical education,<br />
health, physical education, and any other subject, as<br />
determined by the State or local educational agency,<br />
with the purpose of providing all students access to an<br />
enriched curriculum and educational experience.<br />
12 | TENNESSEE MUSICIAN | 2017 | <strong>Vol</strong>ume <strong>69</strong>, <strong>No</strong>. 4
What is it? A brief<br />
background<br />
In December of 2015,<br />
with bi-partisan support,<br />
President Obama<br />
signed into law the Every Student Succeeds<br />
Act (ESSA) thereby reauthorizing the Elementary<br />
and Secondary Education Act<br />
(ESEA) first signed into law in 1965 by President<br />
Johnson. Within the current law, there<br />
are a number of “Titles” which deal with various<br />
facets of the Act—many of which have<br />
been established along the way in subsequent<br />
reauthorizations after the initial signing of<br />
ESEA. The most well-known of these Titles<br />
is “Title I” as it makes up most the total funds<br />
allocated. Prior to the signing of ESSA, the last<br />
reauthorization of ESEA was the <strong>No</strong> Child<br />
Left Behind Act (NCLB) which was signed<br />
into law in 2001 by President George W. Bush.<br />
What are the major changes from <strong>No</strong><br />
Child Left Behind (NCLB) to the Every<br />
Student Succeeds Act (ESSA) and<br />
why is this important for Music and<br />
Arts Education?<br />
One of the biggest changes is that decision-making<br />
and accountability measures<br />
will no longer be dictated from the federal level—they<br />
will now originate from each individual<br />
state. State education agencies (SEAs) are<br />
currently in varying stages of developing and/<br />
or revising their State Plans to meet the provisions<br />
within ESSA and are expected to submit<br />
them to the U.S. Department of Education.<br />
Also, ESSA places a focus on the providing<br />
of a “Well-Rounded Education” for all students.<br />
ESSA defines a “Well-Rounded Education”<br />
as follows.<br />
S. 1177-298 (52): Definitions<br />
(Well-Rounded Education)<br />
The term “well-rounded education”<br />
means courses, activities, and programming<br />
in subjects such as English, reading<br />
or language arts, writing, science, technology,<br />
engineering, mathematics, foreign<br />
languages, civics and government,<br />
economics, arts, history, geography, computer<br />
science, music, career and technical<br />
education, health, physical education, and<br />
any other subject, as determined by the<br />
State or local educational agency, with<br />
the purpose of providing all students access<br />
to an enriched curriculum and educational<br />
experience.<br />
Speaking to the Las Vegas Academy of<br />
the Arts on April 14, 2016, former Secretary<br />
of Education John King declared that while<br />
literacy and math skills are “necessary for<br />
success in college and in life…they’re not by<br />
themselves sufficient. A more well-rounded<br />
education is critical for a safe, supportive<br />
and enjoyable learning environment.” (The<br />
Huffington Post, “Education Secretary John<br />
King: It’s Time To Stop Ignoring The Arts<br />
And Sciences.” http://www.huffingtonpost.<br />
com/entry/john-king-well-rounded-education_us_570e9013e4b03d8b7b9f34c6)<br />
Why is all of this important for Music<br />
and Arts Education?<br />
ESSA has provided a major opportunity<br />
for each state to determine to what degree<br />
Music and Arts Education are incorporated<br />
into federal funding plans at the state and<br />
local level. The stage has been set: 1) Decision-making<br />
is occurring at the state level<br />
rather than from the federal level, 2) State<br />
Plans are currently under construction thus<br />
providing opportunities to have input via<br />
state arts organizations, coalitions, and interested<br />
like-minded supporters, and 3) A focus<br />
has been placed on providing a well-rounded<br />
education which, among others subjects, includes<br />
music and the arts so that all students<br />
may have “access to an enriched curriculum<br />
and educational experience.”<br />
What does this mean for Music and<br />
Arts Education and implementation<br />
of Title I?<br />
Title I is the largest source of federal funding<br />
for education. The U.S. Department of<br />
Education website describes it as a program<br />
which “provides financial assistance to local<br />
educational agencies (LEAs) and schools<br />
with high numbers or high percentages of<br />
children from low-income families to help<br />
ensure that all children meet challenging<br />
state academic standards.”<br />
Arizona has had more than a decade of<br />
allowing arts integration to be supported<br />
by Title I funds, first through Title I Part F<br />
funding (Comprehensive School Reform under<br />
<strong>No</strong> Child Left Behind) and through Title<br />
I Stimulus funds. An Arizona website for arts<br />
and Title I was created at title1arts.org in<br />
part to create a centralized portal to showcase<br />
this work and to encourage Arizona districts<br />
to undertake more Title I funded arts<br />
integration within the state. The title1arts.<br />
org site provides a direct link to the “Arizona<br />
site” which also clearly states that, “Arts<br />
programs can help schools achieve the goals<br />
of Title I by facilitating student engagement<br />
and learning, strengthening parent involvement,<br />
and improving school climate and<br />
school wide behavior.” This site even quotes<br />
Superintendent of Public Instruction Diane<br />
Douglas in her support for arts education for<br />
Arizona’s children in her remarks that, “as an<br />
artist myself, I know how important the arts<br />
are for learning. I support the arts as part of<br />
a complete education for Arizona’s children.”<br />
As Title I can address all areas of a<br />
well-rounded education, Title I funds may<br />
open up at your school/within your district to<br />
supplement support of music education. To<br />
learn more, visit the “Everything ESSA” page<br />
at http://www.nafme.org/advocacy/essa.<br />
How does all of this impact<br />
my program?<br />
Districts will need to create their own<br />
ESSA plans for Titles I, II and IV – where<br />
music education can benefit. In fact, many<br />
districts, in anticipation of impending State<br />
Plans, have already begun this process since<br />
ESSA is to be implemented in the upcoming<br />
school year (2017-18). Keeping in mind Tip<br />
O’Neill’s famous quote that “all politics is local,”<br />
this is the perfect time to step up and become<br />
part of the process at your district and/<br />
or school level through coordinated action to<br />
ensure that music and arts education are included<br />
in the local plan.<br />
For example, some State Departments of<br />
Education want to provide more comprehensive<br />
in-depth accountability information to<br />
the general public beyond test scores. They<br />
may also articulate that the LEAs be required<br />
to substantiate how they are providing a<br />
well-rounded education for all students. This<br />
would indicate that there will be some measure<br />
for collecting this information from the local<br />
school district. Will music and arts education<br />
be included in the local plan as part of the definition<br />
of a well-rounded education? How can<br />
the music and arts community ensure that<br />
EVERY STUDENT will indeed be provided<br />
with access? <strong>No</strong>w more than ever, it is vital that<br />
music and arts educators work collaboratively<br />
with their associations, fellow music and arts<br />
Tennessee Music Education Assocation | www.tnmea.org | 13
educators, music dealers and community arts<br />
organizations to ensure that districts, and even<br />
individual schools, ENSURE that the local plan<br />
addresses music and arts education in a manner<br />
that specifies, at a minimum, what is articulated<br />
in the State Plan.<br />
In particular, music educators will want<br />
to get involved with the creation of the Title<br />
IV plan, the section of the law bringing new<br />
funding specifically for a Well-Rounded Education.<br />
You can create your own music education<br />
needs assessment for your district<br />
using NAfME’s 2015 Opportunity-to-Learn<br />
Standards; checklist versions of these standards<br />
are now available for your use at www.<br />
nafme.org/standards.<br />
You can also work, if you are at a Title I<br />
Schoolwide school, at making certain that<br />
music education is included in your school’s<br />
Title I Plan. ESSA encourages schools to address<br />
a well-rounded education in their Title<br />
I schoolwide plans, so now is a great time to<br />
get music included for the 2017-18 school<br />
year. To find out if you are at a Title I Schoolwide<br />
school, check with your principal and<br />
while you’re in the office, volunteer to help<br />
with the creation of next year’s plan.<br />
This may also be a good time to dig into<br />
your music education program’s impact data<br />
and be sure that summary information on<br />
student participation and learning outcomes<br />
are widely available via your school/district<br />
website to the entire community. How does<br />
music education participation relate to student<br />
attendance, participation in advanced<br />
coursework (AP), graduation rates, student<br />
engagement, and positive school climate including<br />
behavior? The Metropolitan Nashville<br />
Public Schools published the Prelude<br />
Report: Music Makes Us Baseline Research<br />
Report which provides exactly this type of<br />
information on a district wide level. It may<br />
be worth reviewing their findings which are<br />
With the passage of ESSA and<br />
the eventual passage of your State<br />
Plan, music and arts educators and<br />
advocates have been provided with an<br />
opportunity to speak up about the<br />
value of music and arts education.<br />
available at: http://bit.ly/2BaselineResearch.<br />
In addition, you want to get a sense of the percentage<br />
of students who are actively engaged<br />
in music and arts education at your school<br />
and begin thinking about how that percentage<br />
might be increased to address the needs<br />
of students not currently served.<br />
Finally, visit the website of your state Department<br />
of Education and search for ESSA<br />
Consolidated State Plan. Read through it in detail<br />
to see if music and arts education have been<br />
included. If not, consider engaging your state<br />
music education advocacy group or music education<br />
association to participate in efforts to<br />
include music and the arts in the Plan. NAfME<br />
has provided a formatted sample of how music<br />
and arts education can be included in the<br />
Consolidated State Plan. That document, along<br />
with many others, is available on the NAfME<br />
website at http://bit.ly/NCLBEnds.<br />
How to become part of the process—<br />
the four R’s:<br />
1. REACH OUT and get involved in your<br />
state and/or local music and arts coalition<br />
or advocacy group. Offer your commitment<br />
and service. The NAMM Foundation provides<br />
a variety of advocacy resources online<br />
at nammfoundation.org.<br />
2. REINFORCE that music is designated<br />
as part of a well-rounded education, not<br />
only within ESSA, but also within your<br />
State Plan<br />
3. REMIND state, district and community<br />
leaders as well as other music and arts<br />
education stakeholders (parents, administrators,<br />
colleagues, community businesses)<br />
about the benefits of music and arts education<br />
and what it means for students and<br />
communities. Provide supportive data.<br />
4. REQUEST that music education be<br />
included in your district’s Well-Rounded<br />
Education needs assessment and possible<br />
funding under Title IV. Also, be sure to<br />
request that a well-rounded education be<br />
addressed, including music, as part of your<br />
district’s Title I plan.<br />
There are numerous resources available to<br />
assist arts educators in learning more about<br />
ESSA and its impact for music and arts education.<br />
It is highly recommended that music<br />
and arts educators review these online<br />
resources and download them to share with<br />
colleagues (department meetings, emails<br />
to colleagues), parents (parent nights, PTA<br />
meetings, booster meetings) and administrators<br />
(planning meetings with supervisors).<br />
Some of the most helpful resources include:<br />
1. NAfME: Everything ESSA site which<br />
may be accessed at: http://4wrd.it/EV-<br />
ERYTHINGESSA<br />
2. Yamaha: The Music Teacher’s Guide<br />
to ESSA, which may be accessed at:<br />
http://4wrd.it/YAMAHASUPPORTED<br />
3. The NAMM Foundation’s recently<br />
released brochure, Music is a Part of<br />
a Well-Rounded Education: What parents<br />
need to know about music education<br />
and the Every Student Succeeds Act<br />
(ESSA) Federal Education Law. Complimentary<br />
copies (packets of 50 each to<br />
share with parents) are available to order<br />
at: http://4wrd.it/ESSAPARENTBRO-<br />
CHURE<br />
4. SBO: How to Use Advocacy Stats to your<br />
Best Advantage: Using Music Education<br />
Data as Indicators of a Positive School<br />
Climate by Marcia Neel at: http://4wrd.it/<br />
SBO_Marcia<br />
5. SBO: In the Trenches: The Every Student<br />
Succeeds Act and What’s in it for You!<br />
(But Only if You Act!) by Bob Morrison at:<br />
http://4wrd.it/ESSAINTHETRENCHES<br />
6. Meet Title I Goals Using the Arts at:<br />
http://4wrd.it/2TITLEIARTS<br />
7. Using Title I funds to support music and<br />
arts education in Arizona at: http://www.<br />
arizonatitle1arts.org<br />
14 | TENNESSEE MUSICIAN | 2017 | <strong>Vol</strong>ume <strong>69</strong>, <strong>No</strong>. 2
NOW IS THE TIME to become<br />
engaged and to engage<br />
others. With the passage of<br />
ESSA and the eventual passage<br />
of your State Plan, music<br />
and arts educators and advocates have been<br />
provided with an opportunity to speak up<br />
about the value of music and arts education.<br />
The more that we can advocate for music and<br />
the arts as part of a well-rounded education<br />
within our own districts and schools, as well<br />
as providing documented support for how Title<br />
I funds can be used for music and arts education,<br />
the better the chance that more students<br />
will have increased access to the many<br />
benefits that an education in music and the<br />
arts will provide.<br />
ACKNOWLEDGEMENTS:<br />
The author would like to thank Mary Luehrsen,<br />
Executive Director of the NAMM<br />
Foundation, and Lynn Tuttle, Director of<br />
Content and Policy for the National Association<br />
for Music Education, for their extensive<br />
and comprehensive contributions<br />
in the preparation of this article. Luehrsen<br />
is NAMM’s chief strategist for education<br />
policy and music education advocacy. Tuttle<br />
currently serves as the AMEA Advocacy<br />
Chair and was the Director of Arts Education<br />
at the Arizona Department of Education<br />
from 2003-2015.<br />
The author, Marcia Neel is the Senior<br />
Director of Education for the Band and Orchestral<br />
division of Yamaha Corporation of<br />
America. She also serves as the Education<br />
Advisor to the Music Achievement Council,<br />
is also President of Music Education Consultants,<br />
Inc. and was the former Coordinator<br />
of Secondary Fine Arts for the Clark<br />
County School District headquartered in<br />
Las Vegas, Nevada.
D E P A R T MENT O F<br />
Music<br />
Clarksville, Tenn.<br />
by Frank Diaz, Ph. D.<br />
BACHELOR OF MUSIC DEGREES<br />
Music Education<br />
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For Audition Dates and Requests Please Visit<br />
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Austin Peay State University does not discriminate on the basis of race, color, religion, creed, national origin, sex, sexual orientation, gender<br />
identity/expression, disability, age, status as a protected veteran, genetic information, or any other legally protected class with respect to<br />
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Contact : Department of Music<br />
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THINK MUSIC -- THINK A USTIN PE A Y<br />
www.apsu.edu/music<br />
16 | TENNESSEE MUSICIAN | 2017 | <strong>Vol</strong>ume <strong>69</strong>, <strong>No</strong>. 4
Music is<br />
Part of a<br />
Well-rounded<br />
Education<br />
REINFORCE what’s in the law.<br />
REMIND stakeholders about the benefits of music education.<br />
REQUEST that your school and community leaders<br />
collaborate with the state Board of Education.<br />
Download your free ESSA Brochure at nammfoundation.org<br />
“Well-rounded Education”<br />
The term ‘well-rounded education’ means<br />
courses, activities and programming in subjects<br />
such as English, reading or language arts, writing,<br />
science, technology, engineering, mathematics, foreign<br />
languages, civics and government, economics, arts,<br />
history, geography, computer science, music, career<br />
and technical education, health, physical education,<br />
and any other subject, as determined by the state<br />
or local educational agency, with the purpose of<br />
providing all students access to an enriched<br />
curriculum and educational experience.”<br />
S. 2277 (52)<br />
Tennessee Music Education Assocation | www.tnmea.org | 17
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Friday, March 17, 2017<br />
Cody Hoenie, a junior from Knoxville, Tennessee, is majoring in percussion performance, and studies with Dr. Colin J. Hill. PHOTO BY WARREN LAFEVER.<br />
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Tennessee Music Education Assocation | www.tnmea.org | 19
TEN WAYS TO USE TONALENERGY WITH YOUR MIDDLE SCHOOL BAND<br />
By Katrina Fitzpatrick<br />
has gained popularity in the music community.<br />
The app can be used on a daily basis in several<br />
different capacities and increase overall sound<br />
production and aural skills in middle school band<br />
THE TONALENERGY APP for iPhone and iPad<br />
students. This article is describes to provide directors<br />
ten ways to successfully integrate TonalEnergy in<br />
both ensemble and individual instruction.<br />
1. TUNER<br />
The target tuner is an ideal tuner for young or inexperienced<br />
students. It is easy for students to understand if students<br />
play a tone and see a happy face they are close to the<br />
correct pitch (see picture 1). It is equally easy for students<br />
to understand that if they see an arch above the happy face<br />
they are above the pitch. Likewise, if they see an arch under<br />
the happy face they are below pitch. The display of the<br />
tuner is simple and can be clearly seen from across a room.<br />
The large distance between the student and the tuner can<br />
be turned into an opportunity for young musicians to be<br />
encouraged to project their sound. From across the room,<br />
students have a tangible target at which to aim their tone.<br />
They should strive to put their sound in the center of the<br />
target. If the tuner does not pick up their sound, it is evident<br />
to the student they are not playing at a level that is<br />
appropriate for the tuner to work. This is an effective way<br />
to encourage tuning with a full, supported sound.<br />
Incorporating TonalEngery into<br />
full ensemble rehearsals and<br />
individual practice can change<br />
an ensemble’s approach to pitch,<br />
time, and tone production.<br />
picture 1<br />
2. TONAL GENERATOR<br />
The tonal generator can produce 9 chromatic octaves<br />
in 22 different timbres. The tones can be played on a<br />
piano keyboard, or, if the student is not comfortable on<br />
piano, the tones can also be play by note name on a chromatic<br />
wheel. There is a sustain button that allow a pitch<br />
to drone. As the pitch drones, the target tuner still is able<br />
20 | TENNESSEE MUSICIAN | 2017 | <strong>Vol</strong>ume <strong>69</strong>, <strong>No</strong>. 42
to register a student’s pitch. The student can<br />
hear the note while she is getting visual feedback<br />
on what her ear is hearing. When connected<br />
to an amplifier, this makes for steady,<br />
consistent tuning pitch for the full ensemble.<br />
Up to 14 individual pitches can be sustained<br />
at once. This allows not only for matching individual<br />
pitches, but chords as well. This is a<br />
great way to model and demonstrate chords<br />
within a piece of literature. Students are able<br />
to hear the chord, sing the chord, and match it<br />
with their instruments. The tonal generator<br />
is also an excellent tool to develop matching<br />
and aural skills.<br />
3. EQUAL vs. JUST PITCH<br />
Both the target tuner and tonal generator<br />
can operate in either equal or just temperament.<br />
This allows the tonal generator to<br />
function almost as a harmony director. It is<br />
easy to demonstrate the difference between<br />
equal and just pitch with a few simple steps.<br />
To do this, connect TonalEnergy to an amplifier<br />
and play a sustained major chord with<br />
the tone generator on just temperament and<br />
toggle back and forth just between equal temperament.<br />
The students can clearly hear the<br />
difference. When approaching a cadence,<br />
have the students play the final chord in just<br />
pitch as the ensemble arrives that vital point.<br />
Then have the ensemble release the chord<br />
while the chord is still sustaining through the<br />
tone generator. Instruct students to listen,<br />
sing their chord tone, and play again. This<br />
helps students identify what they should be<br />
listening for at key moments in a piece.<br />
4. METRONOME<br />
The metronome within TonalEnergy is<br />
useful because it can be used in conjunction<br />
with the tuner and/or tone generator. Students<br />
can turn the metronome on and have<br />
the tuner show the pitch as they play. This<br />
is helpful for long tone exercises in both<br />
individual practice and small group settings.<br />
Students can receive visual feedback<br />
on their pitch while maintaining a steady<br />
pulse. The metronome offers a variety of<br />
different note values: quarter notes, eighth<br />
notes, triplets, and sixteenth notes, as well<br />
as sixteen different time signatures including<br />
mixed meter settings. The metronome<br />
can be used with the blue wave form window<br />
so students can both hear and see the tempo.<br />
This can be used to illustrate the relationship<br />
between eighth notes, triplets, and<br />
sixteenth notes to the beat.<br />
5. RECORDING<br />
The recording function can operate simultaneously<br />
with the target tuner, tonal<br />
generator, and metronome. This allows for<br />
student to record themselves with the metronome<br />
ticking and the tuner giving feedback.<br />
The recording can then be played back with<br />
the blue wave form window or target tuner<br />
running for feedback on pitch and accuracy.<br />
Since the recording provides audio and visual<br />
response, this is ideal for student self- assessment,<br />
because the recording provides both<br />
audio and visual response. It is also possible<br />
to make recordings of the tone generator of a<br />
bass line to a chorale or a long tone exercise<br />
with the metronome ticking. The files are<br />
saved in .wav format and are easy to export to<br />
email or dropbox.com. Students can access<br />
the recordings and can have them to practice<br />
with at home or in a practice room.<br />
6. ANALYSIS – SHAPE OF NOTE<br />
The blue waveform window gives a visual<br />
representation of sound. The blue waveform<br />
window allows the students to see<br />
if they are using steady, adequate air and<br />
proper support. Students are encouraged<br />
to aim for a “square or rectangle” sound<br />
that does not diminish or expand (picture<br />
2). The blue sound wave also can be used<br />
to illustrate fronts and backs to the notes.<br />
Students are often surprised when they see<br />
their long tones looking like an hour glass or<br />
vase (picture 3). The blue wave form provides<br />
the students with tangible evidence of<br />
their air support. With a full ensemble, the<br />
blue wave form can be used to give feedback<br />
on the clarity of both entrances and releases.<br />
The blue wave form will visually illustrate to<br />
the ensemble if a player comes in too early<br />
or releases too late. <strong>No</strong> one wants to be the<br />
extra blue speck at the beginning or end of a<br />
note. The blue waveform can be visual confirmation<br />
of the director’s advice.<br />
picture 2<br />
picture 3<br />
7. ANALYSIS – LENGTH OF NOTE<br />
The blue waveform window and metronome<br />
can be used simultaneously to create<br />
a visual representation of tempo. This is an<br />
excellent way to illustrate a note’s full value.<br />
For beginning players, it can often be difficult<br />
to understand that a four count note<br />
needs to be released on the fifth beat. With<br />
the blue waveform, beginners can easily see<br />
the space between the beats and they focus<br />
on filling in the space between the beats in<br />
with an even stream of “square” sound (picture<br />
4). The same approach can be used with<br />
articulated notes such as multiple staccato<br />
quarter notes. The analysis allows students<br />
to see if they are indeed putting separation<br />
and silence between the notes (picture 5). If<br />
a student is playing a staccato too long, it will<br />
show on the analysis.<br />
picture 4<br />
picture 5<br />
8. ANALYSIS – PLOT POINT<br />
Within the blue wave form window, an orange<br />
plot line can be turned on. This line will<br />
illustrate the pitch throughout the course of a<br />
note. When playing only with the target tuner,<br />
students will often play a tuning pitch until<br />
they see the happy face. They receive immediate<br />
gratification and do not realize that<br />
they either had to come up or down twenty<br />
cents in either direction (or sometime both)<br />
to find the center of the pitch. As in picture<br />
six below, the majority of the tone was out<br />
of tune even though the student found the<br />
tonal center eventually; however, it was not<br />
maintained. When first using the plot pitch<br />
line, encourage student to focus on hold the<br />
line straight regardless of pitch. This could<br />
be a challenging task for some students. Over<br />
time they will be able hold it straight in the<br />
center of the pitch and improve their concept<br />
of tuning (picture 6).<br />
Tennessee Music Education Assocation | www.tnmea.org | 21
As students become comfortable with the routine, it can be done in<br />
fewer than five minutes. Obviously, this routine doesn’t correct all of<br />
the pitch issues within a middle school ensemble, but over the course<br />
of a school year it builds upon itself to develop a band with a greater<br />
sense of matching and tone production.<br />
Incorporating TonalEngery into full ensemble rehearsals and individual<br />
practice can change an ensemble’s approach to pitch, time,<br />
and tone production. The visual and audio tools this app provides are<br />
ideal for young musicians and can encourage a strong fundamental<br />
foundation in the early years. Students enjoy the fun features like<br />
the happy face, in the app and they are quickly able to learn the app on<br />
their own. Whether you choose to use TonalEnergy in one capacity<br />
or all ten, this app has the potential to assist you in improving your<br />
ensemble’s tonal center.<br />
picture 6<br />
9. TRANSPOSITION<br />
The transposition function allows students to choose both their<br />
instrument and transposition from concert pitch. With the transposition<br />
function young French horn players, for example, can see they<br />
are playing an F in the sheet music and they will see F on the tuner.<br />
In the beginning stages of playing this saves time, and avoids confusion<br />
and frustration. The transposition function also works with the<br />
tone generator. If the horn player wants to hear the transposed pitch<br />
before she plays, she can press F on the tone generator and a concert<br />
B flat will sound.<br />
10. PUTTING IT ALL TOGETHER<br />
Here is a five minute TonalEnergy Routine that can be used with a<br />
middle school band on daily basis.<br />
• Drone a pitch with the tonal generator through an amplifier.<br />
This pitch will continue throughout the entire routine. Using a<br />
projector, show the analysis with the blue waveform window and<br />
orange plotline.<br />
• Have the ensemble match the pitch.<br />
• Have the ensemble hum and sing their respective pitches.<br />
• Play again to match, and then have the ensemble bend the pitch<br />
down and come back up to match.<br />
• Starting with the first clarinet player, each student plays their<br />
pitch individual for four counts. There are no rests between<br />
players. Students will not only try to match the drone, but they<br />
aim for square sounds for a four full beats and a straight orange<br />
plot pitch line. Every day, each wind player receives at least four<br />
counts of individual feedback.<br />
• After the last student plays, the full band will match the pitch<br />
one last time. Then have a short discussion about intonation and<br />
sound tendencies that day.<br />
• This routine can be recorded through the app, and exported to<br />
the student for an at home written prompt assessment of the<br />
ensemble or individual progress.<br />
Katrina Fitzpatrick is the fine arts department head and band<br />
director at Morton Junior High School. She received her bachelor<br />
of music education from Bradley University and masters in music<br />
education from Illinois State University. In 2010, she directed the<br />
MJHS Jazz Band at the ILMEA All State Convention, and in 2014,<br />
her concert band presented at the ILMEA All State Convention. She is<br />
a member of Phi Beta Mu and a flutist in the Prairie Wind Ensemble.<br />
Katrina is the flute instructor for the Music for All Summer Symposium<br />
Marching Band Track and woodwind instructor for the Morton<br />
High School Marching Band.<br />
Originally printed in the Illinois Music Educator, volume 74, <strong>No</strong>.<br />
3 Spring 2014. Special thanks to Bill Froom, Publications Editor for<br />
IMEA for assistance with this article.<br />
ELEMENTARY, MIDDLE, AND HIGH SCHOOL<br />
BAND, CHOIR, AND ORCHESTRA<br />
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www.SMMFestival.com<br />
or call:1-855-766-3008<br />
22 | TENNESSEE MUSICIAN | 2017 | <strong>Vol</strong>ume <strong>69</strong>, <strong>No</strong>. 4
TENNESSEE<br />
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For more information on how to join The Pride of the Southland Band visit<br />
our website www.utbands.com or call us at 865-974-5031.<br />
Connect with UT Bands<br />
Tennessee Music Education Assocation | www.tnmea.org | 23
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Tennessee Music Education Assocation | www.tnmea.org | 25<br />
Middle Tennessee State University does not discriminate on the basis of race, color, national origin, sex, or disability. See our full policy at mtsu.edu/titleix.
THE MARCHING BAND AND HEARING LOSS<br />
By Haley Greenwald-Gonella<br />
MARCHING BAND<br />
<strong>No</strong>w imagine the<br />
is Hurting Your Ears!<br />
Playing the cymbals<br />
has the same noise<br />
intensity as an ambulance<br />
siren while<br />
playing the flute can<br />
seem as loud as operating<br />
a chainsaw.<br />
combination of instruments in a full ensemble,<br />
and you’ll realize the potential damage it<br />
can do to your hearing. Protect yourselves!<br />
When I marched in my high school band,<br />
I did not wear earplugs. As a band, we were<br />
not educated about the amount of sound and<br />
noise we were being exposed to on a daily basis.<br />
I played the flute during marching season<br />
and the bassoon during concert season. Most<br />
people think that woodwinds don’t need to<br />
worry when it comes to hearing loss; it’s just<br />
something drummers need to worry about,<br />
right? Wrong.<br />
A clarinet clocks in at 93 dBA, and an alto<br />
sax comes in at 110 dBA—both at extremely<br />
high levels of noise exposure. However,<br />
if someone told me then that I needed to<br />
protect my hearing and that I should wear<br />
earplugs, I am not sure I would have done<br />
it. Wearing earplugs when I was marching<br />
came with a certain stigma.<br />
<strong>No</strong>w, as hearing loss prevention is becoming<br />
more prevalent, thanks to such<br />
programs as Adopt-A-Band, more marching<br />
participants are wearing earplugs in<br />
practice and performance.<br />
THE STATS<br />
As with many dangers, kids and young<br />
adults think that they are invincible. They<br />
choose not to floss, skip the sunscreen and do<br />
not wear seatbelts because they are young,<br />
healthy, and “it won’t happen to them.”<br />
Like with gum disease and skin cancer,<br />
though, hearing loss is cumulative with effects<br />
seen over time. “50% of professional<br />
musicians have hearing loss,” says Brendan<br />
J. Leonard, president of Health Enterprises,<br />
Inc.“26% of high school [senior musicians]<br />
have hearing loss to some degree.”<br />
26 | TENNESSEE MUSICIAN | 2017 | <strong>Vol</strong>ume <strong>69</strong>, <strong>No</strong>. 4
In the whitepaper “<strong>No</strong>ise Exposure: Explanation<br />
of OSHA and NIOSH Safe Exposure<br />
Limits and the Importance of <strong>No</strong>ise Dosimetry,”<br />
audiologist Patricia A. Niquette explains<br />
that “OSHA permits exposures of 85 dBA for<br />
16 hours per day, and uses a 5 dB time intensity<br />
tradeoff. For every 5 dB increase in noise level,<br />
the allowable exposure time is reduced by<br />
half. For every 5 dB decrease in noise level, the<br />
allowable exposure time is doubled … NIOSH<br />
recommends an exposure limit of 85 dBA for<br />
8 hours per day, and uses a 3 dB time intensity<br />
tradeoff. For every 3 dB increase in noise level,<br />
the allowable exposure time is reduced by<br />
half. For every 3 dB decrease in noise level, the<br />
allowable exposure time is doubled.”<br />
Both OSHA and NIOSH govern workplace<br />
safety, but they don’t regulate marching<br />
bands. Taking their regulations into account,<br />
though, music rooms are well over 85 dBA, so<br />
even if you are a parent observing practice,<br />
you are being exposed to extremely high levels<br />
of sound.<br />
“A small music room with a marching band<br />
[in it] can be louder than a rock concert,”<br />
says Carolynn Travis, global brand advocate<br />
for Etymotic Research, Inc., makers of the<br />
ETY-Plugs. “The human ear overloads at 100<br />
dBA—you cannot physically hear everything<br />
[at that level].”<br />
Think about it this way: The unprotected<br />
permissible exposure time for playing a clarinet<br />
at 94 dBA is about an hour. For a bass<br />
drum at the low end of 100 dBA, a safe limit<br />
is only 15 minutes. When using earplugs, the<br />
exposure time is increased. For a correlation<br />
between exposure time and earplug use, visit<br />
www.etymotic-media.com/sliderule.<br />
A study titled “How Loud is a Drum and<br />
Bugle Corps?” conducted by Dr. Sandra<br />
Teglas and Dr. Debbie O’Connell from the<br />
Music Research Institute (MRi) at The University<br />
of <strong>No</strong>rth Carolina at Greensboro confirmed<br />
the dangers of intense sound levels in<br />
the marching activity. Thirty members, ages<br />
15 to 60 years old, of Carolina Gold Drum<br />
and Bugle Corps volunteered to wear sound<br />
dosimeters on their shoulders or hats during<br />
rehearsal. The sound dosimeters measured a<br />
daily sound dose, providing one-minute averages<br />
as well as all-day averages. A daily sound<br />
Tennessee Music Education Assocation | www.tnmea.org | 27
“26% OF HIGH<br />
SCHOOL [SENIOR<br />
MUSICIANS] HAVE<br />
HEARING LOSS TO<br />
SOME DEGREE.”<br />
dose of 100% can be thought of as a daily allowance<br />
of sound.<br />
“All instrument averages experienced<br />
sound doses exceeding NIOSH recommendations<br />
during a 12-hour rehearsal,” the<br />
study found. “Individually, all but one participant<br />
(contrabass) experienced sound<br />
doses exceeding NIOSH recommendations<br />
during a 12-hour rehearsal. Overall, battery<br />
percussion experienced the greatest sound<br />
levels, followed by pit percussion and brass.<br />
… Mellophones experienced an average of<br />
four days’ worth of sound, and the snare<br />
drums experienced an average of 49 days’<br />
worth of sound.”<br />
THE POTENTIAL DAMAGES<br />
At age 66, snare drummer John Day says he<br />
“isn’t old enough” for hearing aids. “[My hearing]<br />
can’t get any worse,” he says. “I’m not at<br />
the levels of exposure that I used to be,” muses<br />
Day, who’s been playing about 57 years.<br />
Day got his ears checked about 10 years<br />
ago after experiencing constant ringing (tinnitus)<br />
in his ears during his 40’s. <strong>No</strong>t only is<br />
Day a drummer, he was an instructor for 35<br />
years and put himself right in the hearing<br />
danger zone as a judge for 15 years.<br />
He and his alumni buddies from the Skyliners<br />
Drum and Bugle Corps joke that,<br />
“We’re already deaf enough—we had no idea<br />
what we were doing to ourselves.”<br />
Day was probably unaware that if he was<br />
playing his snare for about 12 hours in a single<br />
day, he was receiving 8,822.29% of his daily<br />
noise and sound exposure.<br />
Hearing problems can occur way faster than<br />
Day experienced. Travis says she has talked to<br />
kids in junior high, high school and college<br />
who have already experienced ringing in the<br />
ears, one of the first signs of hearing loss and<br />
an indicator of a not-so-temporary problem.<br />
Haili Sun played the cymbals for five years<br />
and marched in the University of Southern<br />
California (USC) Trojan Marching Band. Sun<br />
said he didn’t “wear earplugs at first because<br />
you just don’t know.”<br />
He believes that “the cymbals are the worst<br />
15 to 20 minutes of practice [without earplugs<br />
gets] your ears ringing.”<br />
Ringing in the ears signifies a temporary<br />
threshold shift, but since hearing loss happens<br />
gradually, typically people do not find<br />
out that they have hearing loss until it’s too<br />
late. Unfortunately, hearing loss is not curable;<br />
there’s no magic pill, shot or procedure.<br />
Had he known what was happening to his<br />
hearing, Day says he “wishes [he] would have<br />
thought of that 50 years ago.”<br />
So he has a new philosophy: “Protect your<br />
eardrums, protect your body, make sure you<br />
floss everyday.”<br />
THE SOLUTION<br />
For hearing protection, prevention is<br />
worth more than a pound of cure—it is the<br />
cure. Specialized musicians’ earplugs help<br />
reduce noise exposure while allowing performers<br />
to hear instructions from the director<br />
and to hear themselves and others play.<br />
Etymotic’s ETY-Plugs reduce sound evenly<br />
across frequencies (loud, moderate and soft)<br />
by approximately 20 dB. Therefore, you will<br />
still be able to hear sounds clearly, only quieter,<br />
and without muffling.<br />
Earplugs from Health Enterprises, Inc.<br />
have continuous noise impact reducing technology<br />
that allows for 100 dBA to come in at<br />
under 85 dBA; musicians can still hear spoken<br />
instructions when using the earplugs.<br />
“This is a tremendous opportunity to further<br />
music education,” Leonard says. “[With<br />
this technology,] we can extend the gift of<br />
music during a young musician’s formative<br />
years.” Leonard says.<br />
Teglas and O’Connell’s paper recommends<br />
that percussionists have even greater<br />
protection.<br />
“Custom or foam earplugs would best<br />
protect battery percussionists,” the study<br />
says. “Foam earplugs have a noise reduction<br />
rating of 29 dB. These earplugs reduce high<br />
frequencies to a degree that distort timbre<br />
perception, so they do not function well for<br />
pitched-instrument musicians but would be<br />
acceptable for battery percussion. Custom<br />
earplugs provide the most accurate timbre<br />
perception of all earplugs and have interchangeable<br />
filters of 9, 15 and 25 dB. Custom<br />
earplugs are appropriate for all musicians but<br />
are the highest price since each pair is made<br />
to fit the ears of only one user.”<br />
So if earplugs are the solution to preventing<br />
hearing loss, what’s the barrier to acceptance?<br />
Cost? Social stigma?<br />
Some people believe that the challenge<br />
seems to be a lack of a collective stance. If band<br />
directors by and large put hearing loss prevention<br />
into the forefront of their music programs,<br />
there would be a reduced stigma to wearing earplugs<br />
for protection purposes, experts say.<br />
Leonard compares musicians marching<br />
without earplugs to football players playing<br />
without a helmet. We wouldn’t send young<br />
athletes onto the field without proper protection,<br />
would we? Why are we doing this with<br />
young musicians, who work just as hard as<br />
any student athlete?<br />
28 | TENNESSEE MUSICIAN | 2017 | <strong>Vol</strong>ume <strong>69</strong>, <strong>No</strong>. 4
Health Enterprises will send free sample<br />
earplugs for evaluation to any music director.<br />
“We try to make our earplugs as economical<br />
as possible,” Leonard says. “We have a strong<br />
heritage in selling consumer health care products<br />
to the schools, so for the cost of a soda and<br />
a hamburger, you can protect your hearing.”<br />
To help get earplugs to every musician, Etymotic<br />
Research created the Adopt-A-Band<br />
program, which provides cost-effective earplugs<br />
for marching bands across the country.<br />
Through the program, band directors,<br />
parents or sponsors can pay a range of fees to<br />
send earplugs to students. Etymotic also became<br />
a sponsor of Drum Corps International,<br />
working to educate directors and students<br />
alike on hearing protection.<br />
THE PRESENT AND FUTURE<br />
According to all the experts, wearing earplugs<br />
should be as much a part of marching<br />
musicians’ daily routine as putting on sunscreen<br />
or warming up. Luckily, more and<br />
more ensembles are doing just that.<br />
Sun notes that veteran members of the<br />
USC band have begun passing out earplugs.<br />
“It is definitely a known issue in drumline and<br />
throughout the rest of the band,” he says. “[It’s<br />
like] ‘Oh, we’re playing; put in your earplugs.’”<br />
In addition, Sun is currently volunteering<br />
with the Oregon Crusaders Drum and Bugle<br />
Corps, where “all drummers and staff wear<br />
earplugs,” he says.<br />
ABOUT THE AUTHOR<br />
After dancing since the age of 3, Haley<br />
Greenwald-Gonella thought it was time to<br />
try a new art. In elementary school, she began<br />
playing the flute and was in the marching<br />
band in middle school and for the first<br />
two years of high school. She also played the<br />
bassoon during concert season. Dance drew<br />
Haley back while in high school.<br />
She graduated from the University of California,<br />
Irvine, with degrees in dance and English.<br />
She recently graduated from the University<br />
of Southern California with a master’s<br />
degree in Specialized Journalism (The Arts).<br />
Haley is also a certified registered yoga<br />
teacher with Yoga Alliance. She draws upon<br />
her dance and yoga training when it comes to<br />
all things fitness and the arts.<br />
©2013 Halftime Magazine – Special<br />
thanks to Christine Katzman for assistance<br />
with this article.<br />
This information would be music to clinical<br />
audiologist Sara Neumann’s ears.<br />
Neumann spent time in color guard<br />
and did her research on the “Effects of<br />
Hearing Conservation Programming on the<br />
Attitudes of Percussionists in Drum and Bugle<br />
Corps.” In her 2010 study, Neumann addresses<br />
the stigma of wearing earplugs while participating<br />
in the marching arts. Neumann states<br />
that knowledge about hearing loss protection<br />
has increased.<br />
In addition to using earplugs, Neumann<br />
recommends taking frequent “quiet breaks”<br />
and using a noise dosimeter during rehearsals<br />
to help keep track of exposure levels. And<br />
after a long day of band rehearsal and its resultant<br />
noise exposure, it is probably best<br />
not to blast your car radio with the windows<br />
rolled up as you have most likely reached<br />
your daily dose of sound.<br />
The loudness of being in the marching arts<br />
is “generalizable because we’re all around it,”<br />
Neumann says. “It’s your job, but [it’s important]<br />
to think smartly.”<br />
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30 | TENNESSEE MUSICIAN | 2017 | <strong>Vol</strong>ume <strong>69</strong>, <strong>No</strong>. 4
Tennessee Music Education Assocation | www.tnmea.org | 31
LEARN, PERFORM, PERFECT<br />
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32 | TENNESSEE MUSICIAN | 2017 | <strong>Vol</strong>ume <strong>69</strong>, <strong>No</strong>. 4
Tennessee Music Education Assocation | www.tnmea.org | 33
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TENNESSEE MUSICIAN ADVERTISER INDEX | VOLUME <strong>69</strong>, <strong>No</strong>. 4<br />
A very special<br />
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Tennessee Music Education Assocation | www.tnmea.org | 35
TMEA BACK THEN<br />
• In his letter to the membership, then<br />
TMEA President Charles Ball expressed his<br />
concern for the activities that were taking<br />
place in the second legislative session of<br />
the Tennessee General Assembly under the<br />
new administration of former Tennessee<br />
Governor Ned McWherter. Ball does not<br />
explicitly state what the issues were, only<br />
that many of the gains for arts education<br />
that were championed by the previous<br />
administration (former Tennessee Governor<br />
Lamar Alexander) were now being placed on<br />
hold. He further states his concern that the<br />
impact could have lasting repercussions and<br />
that TMEA should become involved more<br />
directly with what is happening in statewide<br />
politics, especially in the legislative affairs of<br />
the Tennessee General Assembly.<br />
band, Rodney Eichenberger for choir, Bill<br />
Scott for orchestra, and Jerry Coker for jazz.<br />
Jim Sparks served as the conference general<br />
chair, Solie Fott served as program chair,<br />
and <strong>No</strong>rman Woodall served as the all-state<br />
general chair. Convention room rates were<br />
$56.00 for a professional single room and<br />
$62.00 for a professional double room.<br />
THE TENNESSEE MUSICIAN<br />
(OCOTBER 1987)<br />
<strong>Vol</strong>ume 40, <strong>No</strong>. 1 – 36 pgs.<br />
Charles Ball, TMEA President<br />
Cynthia R. Curtis, Editor<br />
• TMEA Executive Secretary -Treasurer<br />
John Bright wrote a letter to the membership<br />
regarding an apparent dilemma “of a tencent<br />
student activity fee” that was in force<br />
for several years (presumably to help offset<br />
all-state ensemble costs). A committee was<br />
appointed and recommended a change in the<br />
activity feel assessment. Dues for membership<br />
in MENC (now NAfME) were $35.00, and<br />
TMEA membership dues were $10.00<br />
• A financial report was included in this<br />
edition of the Tennessee <strong>Musician</strong>. Total<br />
income of funds were $28,310.03 with a total<br />
of $26,715.47 in expenditures with a surplus<br />
balance at the end of the fiscal year 1986-1987<br />
of $1,594.56.<br />
• A report from then TMEA Legislative<br />
Chairperson Tommie Pardue included<br />
information on the TMEA delegation to<br />
Washington D.C. as a part of the MENC (now<br />
NAfME) Leadership Institute. In addition<br />
to Pardue, the representatives also included<br />
Charles Ball, Ray Bell, T. Earl Hinton, and<br />
John Bright. Her column also included<br />
information about a second annual TMEA<br />
Tennessee Legislative session that was to<br />
take place during March, held in conjunction<br />
with Music In Our Schools Month.<br />
• The TMEA In-Service Conference was<br />
scheduled to take place in Knoxville on<br />
March 24-26, 1988. The Tennessee All-State<br />
Ensemble conductors were Ray Cramer for<br />
36 | TENNESSEE MUSICIAN | 2017 | <strong>Vol</strong>ume <strong>69</strong>, <strong>No</strong>. 4
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