TRIAD - SPRING 2020

ISSUE THREE

TRIAD A P R I L / M AY 2 0 2 0

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TRIAD A P R I L / M AY 2 0 2 0 VOL. LXXXV II, NO. 3

EDITOR: TERRI BROWN LENZO editor_of_triad@omea-ohio.org

DESIGN/PRODUCTION: AMY ANNICO Director of Media and Publications media_director@omea-ohio.org

ADVERTISING: BILL WITTMAN Director of Business & Trade Show Operations business_director@omea-ohio.org

TABLE OF CONTENTS 4 6 8

FROM THE EXECUTIVE DIRECTOR: ROGER HALL FROM THE EDITOR: DR. TERRI BROWN LENZO FROM THE PRESIDENT: KATHLEEN MCGRADY

CULTURALLY RESPONSIV E EDUCATION

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BRIDGING CULTURES THROUGH WORLD MUSIC PEDAGOGY - JANET ROBBINS

MASTERING THE CRAFT

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CREATING NEW PATHWAYS TO MUSICIANSHIP

32 38 40 42 46 49 50 55 57 62

2020 OMEA RESEARCH POSTER SESSION SUMMARY - SHAWNA K. HINKLE OAAE - NEW RESOURCES AND PROGRAMS - JARROD HARTZLER OCDA SPRING REPORT - BRANDON MOSS OMEA ADJUDICATED EVENTS COMMITTEE REPORT - JAY WARDESKA TRI-M - THE “STATE OF TRI-M” IN OHIO - JUSTIN CAITHAML OCMEA UPDATE - WENDI BECHTOL-DAVIS HIGHER EDUCATION OHIO FOUNDATION FOR MUSIC EDUCATION DONOR FORM OMEA CORPORATE INSTITUTIONAL PARTNERS 2020 OMEA PDC PHOTO RECAP

14 CHOIR: AFFIRMATIONS IN REHEARSAL: BUILDING A CULTURE OF EMPATHY - BRAD PIERSON 18 BAND: SUMMER PROFESSIONAL DEVELOPMENT FOR BAND DIRECTORS - HEATHER MARSH 22 TECHNOLOGY - TRANSLATING MUSIC TO AUDIO: BASIC TERMINOLOGY - RYAN VAN BIBBER

KEEPING STUDENTS MUSICALLY ENGAGED OVER THE SUMMER - LISA MARTIN

FOR GENERAL INFORMATION ABOUT CANCELLATIONS, ADJUDICATED EVENT INFORMATION AND ALL-STATE UPDATES, PLEASE CHECK THE HOMEPAGE OF THE OMEA WEBSITE: WWW.OMEA-OHIO.ORG FOR LINKS TO THE APPLICATION PORTAL FOR SESSION PROPOSALS AND PERFORMING ENSEMBLES, PLEASE VISIT THE OMEA WEBSITE: WWW.OMEA-OHIO.ORG FOR SPECIFIC INFORMATION ABOUT THE CONFERENCE, INCLUDING CLINICIAN SPOTLIGHTS, ACCEPTED ENSEMBLES, AND GRADUATE CREDIT/CONTACT-HOUR OPTIONS, PLEASE VISIT THE OMEA PDC WEBSITE: WWW.OMEAPDC.COM

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TRIAD INFORMATION NETWORK OMEA OFFICE

OMEA TRUSTEES

P.O. BOX 1067 Massillon, OH 44648 330.833.5677 - Office www.omea-ohio.org

Kathleen McGrady

Roger A. Hall

President-Elect president_elect@omea-ohio.org

Executive Director executive_director@omea-ohio.org

President president@omea-ohio.org

Ann Usher

Michael Crist

TRIAD EDITORIAL BOARD Eric West Immediate Past Editor Heather Marsh Band Brad Pierson Choral/Vocal

Bill Wittman

Immediate Past-President past_president@omea-ohio.org

Mark Russo Jazz

Director of Business & Trade Show Operations business_director@omea-ohio.org

Robert Antonucci

Lisa Wong Culturally Responsive Education

Amy L. Annico Director of Media & Publications media_director@omea-ohio.org

Gregory S. Taylor Director of Technology technology_director@omea-ohio.org

Mark A. Hensler Director of Professional Development & Conference Management pd_director@omea-ohio.org

William K. Guegold Director of Adjudications adjudications_director@omea-ohio.org

Dane Newlove Director of Adjudicated Event Materials and Awards ae_materials_director@omea-ohio.org

Secretary secretary@omea-ohio.org

Terri Brown Lenzo

Editor of TRIAD editor_of_triad@omea-ohio.org

Wendi Bechtol-Davis

Roberto Iriarte Orchestra/Strings Dr. Lisa Martin Student Assessment

Treasurer treasurer@omea-ohio.org

Heather Russell Teacher Education

OCMEA OFFICERS

Brian Laasko Technology

Lauren Zetts

OCMEA President ocmea_president@omea-ohio.org

Viktoria Straka

OCMEA President-Elect ocmea_president_elect@omea-ohio.org

Montana Hollis

OCMEA Secretary ocmea_secretary@omea-ohio.org

Zoe Bruce

OMEA is an Affiliate of NAfME National Association for Music Education www.nafme.org Allied Organizations of OMEA: Ohio Alliance for Arts Education www.oaae.net Ohio Arts Council www.oac.state.oh.us

Membership Chair bruce.38@wright.edu

Ohio Choral Directors Association www.ohiocda.org

Abby Smith

Ohio String Teachers Association www.ohiostringteachers.org

Communications Director smith.2300@wright.edu

Jazz Education Connection of Ohio www.jecohio.org

TRIAD, the Official Publication of the Ohio Music Education Association, is written for music educators, college students preparing for a career in music education, and others who are interested in music education in both general and specialized areas. TRIAD is now a digital publication that can be found online at www.omea-ohio.org three times a year - with Oct/Nov, Dec/Jan, and April/May issues. All news releases should be sent to the editor. All news releases received by the editor will be considered on the basis of news, value, and timeliness to the music education profession in the state of Ohio. All advertising space and business inquiries should be directed to the OMEA Director of Business. An Insertion Order or a Space Reservation Form must be submitted for ads to be printed. TRIAD reserves the right to reject any advertisement. The statements of article authors and/or advertisers are not necessarily those of the magazine or association, and the right to refuse any article/advertisement is reserved. OMEA is not responsible for the URL linking in this publication in terms of destinations or operation. All links are tested in advance for validity to intended sources, but potential distortions may occur beyond the control of OMEA and/or the URL link source. OhioMEA Online Publication Policy on Post-Publication Changes - The Ohio Music Education Association places the highest importance in the integrity of our publications posted online. We realize that despite the competent efforts of the editor, authors, contributors, advertisers, and OMEA staff, posted content may have errors or desired alterations identified after the proofing process is completed. Once a publication is posted online, it will be considered as ‘final’ and no further changes, updates, or corrections will be made. The electronic archiving of our publications for official record is taken seriously and all online publications should be considered equitable to print venues, without alterable possibilities once posted for public viewing.

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FROM TH E E X EC UT I V E DIR Dear Members of the Ohio Music Education Association:

All I Really Need to Know I Learned in Kindergarten is a book of short essays by American author Robert Fulgh Published in 1986, it contains 16 “rules” for success directed to the “K” crowd. I have always thought of it as a list of practices for living and it serves as the basis for one of my personal philosophies – the secret to life is paying attent This comes from rule #16 where he proclaims “LOOK” is the biggest word of all. Since I went to kindergarten a few y prior to 1986, my first books were from the “Kim & Wendy” series. Some of you will remember the first sentence read – “SEE Kim run!”

I think we can agree that Fulghum’s book has not resonated with people because of the academic rigor it contains, r er it is because it is a validation of the social skills needed to become a productive member of society. Working toge learning to respect others, and generally being nice to one another, are behaviors that prove to be timeless. I have inclu the full list on this page to give you a much-needed lift in these unprecedented times.

Fast-forward some 13 years in the life of the young kindergartner and we find them in a school of music. Music e cators learn in their music theory classes making music involves more than one note. Furthermore, more than one played simultaneously creates harmony. Every individual perceives harmony differently. There are terms like “conson and “dissonant” to help us categorize harmony. Regardless of the perception, it remains – harmony. The lesson to learned in kindergarten and freshman theory is the same. We need to work together to make music and to create harm

It is what we do!

What can individuals do to advocate for music education? My answer comes from a quote by Douglas Lowry, Dea the Eastman School of Music, delivered to the 2013 graduating class: “In the end, it will be about the work: each day’s work a link in the chain that cannot be broken, work given with consciousness of our knowledge, spirit and will, and with untold extremes of generosity. You are a member of one of noblest professions on the face of the earth; eminently impractical, perhaps, but untouchable because it manifests itse the form of sounds strung together with heart, mind, and spirit. You are, in the broadest sense of the word, a musician During these unprecedented times, we must continue to be leaders in our school as well as model educators for students and colleagues. We must be among the first to step forward and accept challenges.

It is what we do!

Collectively, Ohio’s music educators are the Ohio Music Education Association. OMEA is one of the strongest most respected music education associations in the nation. Others look to us for guidance and leadership. During this ficult time, we must rise up and accept the responsibility that comes with this position of leadership.

It is what we do!

Every day, I receive notes of encouragement or thanks from friends and colleagues. These notes usually contain closing salutation – “Take care of you.” And so I leave you with this same message and one final request. Take car yourself and look for others that you can help through these unprecedented times.

It is what we do!

With my deepest respect and appreciation for your work and commitment to music education, Roger A. Hall Executive Director Ohio Music Education Association

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THESE ARE THE THINGS I LEARNED (IN KINDERGARTEN): 1. Share everything.

2. Play fair.

3. Don’t hit people.

4. Put things back where you found them.

5. CLEAN UP YOUR OWN MESS. 6. Don’t take things that aren’t yours.

7. Say you’re SORRY when you HURT somebody.

8. Wash your hands before you eat.

9. Flush.

10. Warm cookies and cold milk are good for you.

11. Live a balanced life - learn some and drink some and draw some and paint some and sing and dance and play and work everyday some.

12. Take a nap every afternoon.

13. When you go out into the world, watch out for traffic, hold hands, and stick together.

14. Be aware of wonder. Remember the little seed in the Styrofoam cup: The roots go down and the plant goes up and nobody really knows how or why, but we are all like that.

15. Goldfish and hamster and white mice and even the little seed in the Styrofoam cup - they all die. So do we.

16. And then remember the Dick-and-Jane books and the first word you learned - the biggest word of all - LOOK.” - Robert Fulghum, All I Really Need to Know I Learned in Kindergarten

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FROM THE EDITOR

Dear Readers: A couple of weeks have passed since I wrote the overview and the advocacy alert that appear below. So much has happened since then. In times like these, our faith can bring us comfort and so can our music. I encourage you to enjoy and to share your favorite songs and pieces. I’ll start: “Clair de Lune” by Debussy, “I Will Fear No More”

by The Afters, and “September” by Earth, Wind, and Fire.

SPRING 2020 ISSUE OVERVIEW

In this issue, you will find articles on summer professional development (PD) and other topics. Janet Robbins has written about World Music Pedagogy and the Smithsonian Folkways Certificate Course in World Music Pedagogy for general music teachers and ensemble directors. Heather Marsh has provided a comprehensive collection of summer conducting workshops and other PD for band directors.

Brad Pierson offers strategies for creating a culture of empathy in a rehearsal setting. Ryan Van Bibber explains how to equate music terminology with audio engineering terminology. See “Translating Music to Audio: Basic Terminology.” There are committee reports from AE, OCMEA, and Tri-M, along with news from tertiary institutions, and a summary of the OMEA PDC Research Poster Session.

The OCDA report contains details about the summer conference to be held at Otterbein University. Links to several resources can be found in the report from the Ohio Alliance for Arts Education (OAAE): a) accessing school district information through the Arts Education Data Project; b) locating community artists using the Ohio Teaching Artist Roster, and c) a new advocacy training program for students—Ohio Advocates for Arts Education.

ADVOCACY ALERT - MULTI-AGE ARTS LICENSURE

The OAAE has reported on proposed changes to the Ohio Operating Standards as recommended to the State Board of Education by its Continuous Improvement Committee. Recommendations include removal of “. . . the requirement for school districts to employ teachers with the multi-age licensure and instead allow general education teachers with the K-8, PK-3, or new PK-5 license to teach the arts” (OAAE, 2020).

Read the report and access the OAAE Position Paper on the PK-5 License and Changes to Operating Standards via the link in the citation below. It will be important to stay informed on this issue and to continue to advocate for music education in early childhood, as that is the critical period for musical development.

Ohio Alliance for Arts Education (2020, February 18). Art On Line Education Update February 18, 2020. oaae.net. https://oaae.net/2020/02/18/arts-on-line-education-update-february-18-2020/

Stay safe, healthy, and enjoy the musicTerri Brown Lenzo, Ph.D. editor_of_triad@omea-ohio.org Terri Brown Lenzo, Ph.D., is an assistant professor of music education at Ohio Northern University. She has 26 years of experience teaching PK –12 students, having worked as a 5-12 band director and as a general music teacher in public and private schools and in entrepreneurial settings. Her research interests include culturally responsive education, sociology of music education, and early childhood music education.

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FROM THE PRESIDENT

During the arise of this world crisis, I would like to express my deep gratitude to health care workers, first responders, public se workers, supermarket workers, journalists, and everyone else who has been working tirelessly to keep us safe and our communities f I would especially like to express my sincere gratitude and thanks for the leadership of Roger Hall and our OMEA Staff, Trustee members of the AE Committee for their fast-action strategies, patience, and kindness as they navigated through the fallout of this pan is an invaluable gift that we treasure every day and especially during this challenging time. To the innumerable music educators aro who are doing what they can to help their students as they connect, give, contribute, and bring smiles, thank you for showing us th and what humans are capable of during this critical time.

Thank you for your unstinting support in all of these efforts. I’m honored to have served as your president, and I’m grateful to hav to lead our association and stand with you in our profession’s most important work to better serve music educators, and to continu for music education for the children of Ohio.

So, where do we go from here? Even though so much is evolving around education and music education’s importance, we k changes to reach each region, to reach each district, and to reach each school. That is why being a part of OMEA and being involved is so important. To move forward, we must understand where we are and where we are going. Yet, with that understanding, OMEA teaching music and advocating for music is a day-to-day activity. As experienced and practicing music educators, we build our under day together with you. That is part of the huge value of membership in the Ohio Music Education Association.

During the break-out session of the winter State Board meeting, the Trustees posed two questions to the State Board: first, wh working, regarding our current district, region and committee structure, and secondly, what ideas for change could improve our org in light of efficiency, technology, risk, liability, and changes in the volunteerism mindset? The State Board will take an in-depth look we will be excited in the coming months to share them with you. As we move into our vision of 2020, we plan to build, strengthe education in Ohio.

Once again, serving as your president the past two years has been a distinct honor and privilege. I have been able to witness hu cators putting their students first and making sure that music is a vital part of their lives. I have watched our future music educators on Capitol Hill in Washington, DC about the positive impact of music education in their lives. Our future is bright because of thes collegiate members of OCMEA expressing their appreciation about their musical experiences from educators like each of you.

I would personally like to thank our outgoing Past President Michael Crist and President-elect Ann Usher for their leadership t the Board of Trustees for all their commitment and dedication to our organization. I would especially like to thank Roger Hall and ou Staff; I am still smiling from “ear to ear” just thinking about the Professional Development Conference held in Cincinnati this yea every member walked away having a fulfilling and meaningful experience Lastly, I want to extend a note of sincere gratitude to all of the members of OMEA. Your involvement with our organization is great place to be for music educators and advocates. The friendships and life-long relationships you and your music classes are cre are a tribute to your hard work and dedication. Remember in the day-to-day grind never forget why you became a music educator being the inspiration that many of our students look for everyday in their lives.

It is with my heartfelt thanks that I commend all of you for all you do every day.

Kathleen McGrady is a retired instrumental music educator after 34 years as Director of Bands at Springfield High School in Holland, Ohio and N in Northwood, Ohio where she was honored as “Teacher of the Year.” She currently teaches music education courses at Eastern Michigan Univer scholarship representative for the Blue Lake Fine Arts Camp. She has served OMEA at the district, region, and state levels, and most recentl Coordinator. Ms. McGrady is a graduate of Bowling Green State University and holds a master’s degree in music education from Vandercook Co honored as the Ohio Music Education Association’s 2015 Music Educator of the Year.

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CULTURALLY RESPONSIV E EDUCATION

BRIDGING CULTURES THROUGH WORLD MUSIC PEDAGOGY JANET ROBBINS, WEST VIRGINIA UNIVERSITY

Over the past 15 years, I have had many opportunities to travel to Northeast Brazil, thanks to a faculty-student exchange program and more recently as a Fulbright Specialist.

Along the way, I had many questions about language, pronunciation, technique, and eventually about the meanings and function of music in people’s lives. University colleagues, students, and cultural insiders encouraged me to join in singing and dancing, accompanied me to festivals in the city and countryside, and shared stories of the function and meaning of their music. I was hopeful that if I could learn just a single piece thoroughly and understand something of its place in people’s lives, I could share it with students and teachers once I returned home. Today, I work alongside educators, ethnomusicologists, and culturebearers as director of the Smithsonian Folkways Certificate Course in World Music Pedagogy at West Virginia University.

WHAT IS WORLD MUSIC PEDAGOGY?

The term “World Music Pedagogy” (WMP) and its framework was first introduced by Patricia Shehan Campbell in her 2004 book, Teaching music globally: Experiencing music, expressing culture. Inspired by ethnomusicologists’ curiosity about how people use music, perform it, and think about it, WMP is a systematic approach that reaches beyond “why world music” and “what world music” to questions

of “what meaning does music hold within a culture.” It is no longer enough to simply study music’s sonic elements (e.g. rhythm, harmony, form). Some music educators now search for ideas behind the sound—the cultural context, function, and teaching-learning processes.

Most important, World Music Pedagogy pays tribute to music as an aural art and as a means of human expression. Campbell’s vision for a learning pathway involves listening attentively and engaging in music in participatory ways, enacting music through performance, fashioning it in creative ways, and understanding its meaning in culture.

Since music educators often do not have resources or opportunities to collaborate with culture-bearers in their communities, the WMP process uses recordings and videorecordings as a starting point. Recordings of folk and traditional music—both historic and contemporary fusions—become important tools for initial phases of listening and engaging with music. WMP also includes collaborating with culture-bearers and teaching artists “live” when possible.

There are five dimensions or realms of World Music Pedagogy that can be applied to any selection of music (See Figure 1). The first three involve “listen-to-learn” strategies that lead to ever-deepening levels of familiarity as students move from “outside to inside” the music. The fourth dimension, creating world APRIL/MAY 2020

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music, taps into students’ internalization of sonic structures as they create new musical expressions though improvising, composing, extending the piece through song-writing. The last dimension involves an examination of the multiple facets of music. Locating music in time and place and connecting to function and meaning of music in people’s lives is important to understanding music as culture.

Figure 1.

Five Dimensions of World Music Pedagogy 1. Attentive Listening. Multiple directed listening experiences 2. Engaged listening. Participatory musicking while listening.

3. Enactive Listening. Performance through continued oral-aural listening.

4. Creating world music. Inventions in the style of a studies selection 5. Integrating world music. Connecting to cultural context, disciplines, topics.

SMITHSONIAN FOLKWAYS CERTIFICATE COURSE IN WORLD MUSIC PEDAGOGY

In 2009, Patricia Shehan Campbell began to imagine a summer course for teachers in search of a way to meet multicultural mandates in and through music.

As a member of the advisory board of Smithsonian Folkways Recordings, it was natural for her to wonder how a pedagogical framework for teaching world music might be joined with Folkways resources. The Folkways label had been around for decades, thanks to the work of founder Moses Asch whose collection was aimed at capturing the sounds of the world. After the Folkways collection was acquired by the Smithsonian Institution in 1987, thousands of LPs and liner notes were digitized for online access. Today, the collection includes playlists, videos, podcasts, interviews with artists, a growing number of new releases, and themebased lessons for use in classrooms from preschool to post-college. Smithsonian Folkways Recordings (SFR) has become a rich resource to draw from when developing both musical and multicultural experiences for K-12 classrooms, (Campbell, 2018).

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In 2009, an intensive week-long course was launched at the University of Washington in collaboration with SFR to offer teachers specialized study in world music pedagogy. Since then, courses have been offered in 10 locations around the country including Mexico and soon in Brazil. Interactive experiences in listening, singing, playing, dancing, creating, and understanding cultural context are at the core, led by music educators, ethnomusicologists, and teaching-artists. Participants in the weeklong professional development course include K-12 and university music educators, along with community musicians and church choir directors who are interested in broadening their understanding of music-culture and connecting curricula to the musical diversity and interests of their students and community. This summer (2020), K-12, community, and higher education teachers can choose from courses in five locations to explore materials, resources, and pedagogical frameworks for teaching music in and as culture. https://folkways.si.edu/world-music-pedagogycourses>

WORLD MUSIC PEDAGOGY AS A CULTURALLY RESPONSIVE PATHWAY

At the nexus of ethnomusicology and education, World Music Pedagogy (WMP) arises from a belief in the principles of democracy, both cultural and musical (Campbell, Coppola and Hebert, in press). World music pedagogy offers a culturally responsive and inclusive pathway for music teaching and learning. Teachers who invite critical thinking about diverse perspectives are encouraging tolerance of and compassion for people, places, and traditions near and far. As students’ ears and minds are exposed to new sonic flavors, they begin to acknowledge the multiple meanings music has for people around the world and look beyond their local, familiar experiences in important ways. Knowing the musical world of students is equally important in fashioning a culturally responsive program. Campbell (2018) reminds us that the “power of music is in its palpable capacity to build bridges between people, to build social connections, to grow a genuine curiosity for “the other” and to advance a veritable respect for the people whose music it is—both the music-makers and all those who identify” (pp 110-111).

REFERENCES

Campbell, P. S. (2018). Music, education, and diversity: Bridging cultures and communities. New York: Teachers College Press. doi:10.1086/ahr/77.5.1500 Campbell, P. S. (2004). Teaching music globally: Experiencing music, expressing culture. New York: Oxford University Press.

Janet Robbins is professor emerita of music education at West Virginia University with specialization in general music methods and qualitative inquiry. She is currently a Fulbright Specialist and Director of WVU’s Smithsonian Folkways Certificate Course in World Music Pedagogy.

Campbell, P. S., Coppola, W. J., & Hebert, D. J. (in press).

World music pedagogy in higher education. New York: Routledge.

Contributions to Music Education: Putting OMEA on the International Stage www.contributions.omea-ohio.org Did you know that Contributions to Music Education, the research journal of OMEA, has been a recognized publication for close to 50 years? Since 1972, hundreds of music teacher researchers have presented their work to the wider national and international profession, and is available in print and electronic format in nearly all 50-states, and more than 100-countries abroad.

With more than 430+ peer-reviewed articles in 44 volumes, CME can help you be a better music teacher.

Topics over the years have centered on improving the musical experience for students and teachers.

• • • • • • • •

Urban and suburban music programs Teacher professional identities Listening in music classrooms Band, choral, orchestra, general music Sight-singing attitudes and influences Early childhood music education Programming choices and policies Historical traditions and methods

• • • • • • • •

Best practices in band rooms Beginning musical instruction Instrumental and choral programs Intrinsic and extrinsic motivation Issues of social justice in schools Current music technology practices Innovative ways to teach music And many, many more

Now is your opportunity to support OMEA and CME by becoming a subscriber to this important publication. Consider joining today, and for a minimal contribution, you can add to your library of resources to increase your own expertise. Subscriptions are now available in print and electronic format.

NEW FOR OMEA MEMBERS: electronic access for only $10 a year!

For further information and subscription details, please visit our comprehensive website: www.contributions.omea-ohio.org. We look forward to hearing from you!

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M AST E R I N G T H E C R A F T CHOIR

AFFIRMATIONS IN REHEARSAL: BUILDING A CULTURE OF EMPATHY BRAD PIERSON, UNIVERSITY OF TOLEDO

Music has long been valued for its ability to connect people. This is readily apparent in our classrooms where music brings together students from every corner of the school. It is often a source of pride for teachers that our classrooms offer a place for students who may not fit in elsewhere on campus. This connection is important but faces challenges in 2020 as we see a decline in empathy (perhaps related to technology), an increase in mental health issues among young people, and the continued polarization of opinions in our country.

Our continued efforts to make beautiful music are important, but how do we further reinforce a culture of empathy and connection among our students?

Opportunities to affirm our students in meaningful ways are present within our rehearsals. In this article, I propose several ways in which students can receive or participate in active affirmation and can help to create a culture where empathy is possible.

The easiest time to provide affirmations for our students is at the end of a rehearsal. This is either in an affirmation of the ensemble or the individual. Rather than a teacher providing feedback to the ensemble, one may consider asking questions: “What is one thing you learned today?”; “What was your favorite part about today’s rehearsal?”; or better yet, “What do you love about this choir?” By students providing their own answers to these questions, they create a meaningful connection to the group and to each other. It is an affirmation of their hard work to

identify things that they have learned or areas in which they have been successful.

Better still, is seeking opportunities for students to provide individual affirmations to their peers. For example, “Someone raise your hand, and tell me someone that really impressed you today.” I am always impressed at how nuanced the responses are from my students, as they pick up the most subtle contributions from their peers.

A more direct approach might be to call on a specific student: “John, tell me someone that really impressed you today.” The opposite approach might be, “I (teacher) was really impressed with Sally today. Someone tell me something you really like about Sally.” In that moment, you have made Sally’s day–her face will light up, and she will leave the room feeling like a million bucks.

Equally, every student who contributes also feels good for having said something nice about their friend. The next rehearsal, perhaps you call on Sally first to affirm one of her peers.

The most impressive example of this that I once observed was in a colleague’s classroom in Seattle. Every day, at the end of rehearsal, she called up one student to sit on a stool in front of the room. She proceeded to tell this student all the things that she liked about them: “You are a wonderful listener. You always enter the room focused and ready to work. You really impress me with your sight-reading skills.” Then, she allowed other students in the room to add to the list of positive things but also to ask questions: “Do you have any siblings? What do you want to study in APRIL/MAY 2020

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college? What is your favorite food?” I think we might be amazed at how little our students may know about their peers, despite spending every day making music together.

This teacher did this every day until she had brought up every student in her program. This is what building a culture of empathy looks like.

It may be that you have students in your classroom who feel embarrassed by this amount of attention. Certainly, you know your students best, and you will have an idea of any student for whom this might be uncomfortable. I was always taught to look for the “yes” face in the room.

I suspect that as the positive affirmation takes root in your classroom, the number of “yes” faces will increase.

This kind of culture can be integrated and reinforced in our rehearsal technique. Inviting our students to “conduct with me” or “breathe with me,” suggests a mutual investment in the music-making process and reinforces a shared experience. As we model techniques for our students, providing “poor” examples as a contrast is sometimes useful. However, rather than simply saying “This is the wrong way to do it,” ask your students to “Be my voice teacher.” Allow them to provide you reinforcement as a singer: “Your sound is really bright. I think you should use a rounder vowel.” To which you can

KEEP TEACHING KEEP LEARNING

respond: “I agree Sally. I think we could all use rounder vowels in this section. You just taught the whole class something! Everyone sing with rounder vowels like Sally taught us.” We once again have affirmed this student and helped to create a space where empathy is possible.

Too often, our interaction with others is reduced to a “like” on social media or a conversation rife with emoji or GIFs. Where music is an opportunity to create community, we also have a chance to take this a step further. By providing positive affirmations for our students and giving opportunities for them to do this from peer to peer, we can help reinforce a culture of empathy in the rehearsal. This builds stronger ensembles and leads to better, more beautiful music making.

Brad Pierson is the Director of Choral Activities at the University of Toledo. In 2012 he founded whateverandeveramen, a project based choral ensemble which hosts annual events in Seattle, Las Vegas and Toledo, including numerous “Song and Drink” events featuring audience participation. In 2021, he is hosting a tour of Ireland which includes performances in distilleries and breweries, where we will sing a collection of Irish music along with traditional drinking songs.

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M AST E R I N G T H E C R A F T BA N D

SUMMER PROFESSIONAL DEVELOPMENT FOR BAND DIRECTORS HEATHER MARSH, ARCANUM-BUTLER LOCAL SCHOOL DISTRICT

Summer is the perfect opportunity to tackle some professional development (PD) hours. As we all know, PD is a required part of our profession for license renewal. We are fortunate to have a wealth of opportunities available, no matter your concentration area. The number of opportunities during the summer months is amazing! Whether you are looking for something to do in your pajamas on the couch, or you want to make a vacation of it, there is definitely an activity that will fit into your summer plans. Worried about money? Check with your school district or booster organization. Many schools will pay for a teacher to attend summer professional development. There are also some opportunities to receive scholarships for professional development activities. If you’re interested in this, complete an online search for band director professional development scholarships! Below is a brief outline of some of the summer professional development that is available for band directors in 2020.

MUSIC FOR ALL SUMMER SYMPOSIUM, DIRECTOR’S ACADEMY Dates: June 22-27, 2020 at Ball State University Cost: Free if you have at least 12 students attend the MFA student symposium. $449 for college students/new teachers or up to $700 for all teachers. Price varies depending on housing options and registration date.

Description: Advocacy, Literature, Leadership, Marching Band, Concert Band, and more!

More Information: camp.musicforall.org CONN-SELMER INSTITUTE Dates: June 7-10, 2020 at Bethel College, Mishawaka, IN Cost: $99 college student rate, $419 director rate– meals included, lodging $33 per night Description: College student or band director tracks, college job fair, variety of session topics covering a spectrum of topics, reading sessions, factory tour, exhibit hall More Information: conn-selmer.com/en-us/ education/programs/conn-selmer-institute

THE COMPLETE DIRECTOR WORKSHOP Dates: June 16-19, 2020 at Capital University Cost: $250, housing is $78 extra Description: Reading sessions, Q&A with adjudicators, applied faculty instrument demonstrations, conducting and more!

More Information: capital.edu/the-completeband-director-workshop OMEA MARCHING BAND SUMMER SESSIONS Dates: The Ohio State University – June 6th, 10am3pm, Amherst Steele High School – June 11th, 11am-4pm, and Kettering Fairmont High School – June 30th, 2:30pm – 7:30pm Cost: Free to all directors!

Description: This will be a great opportunity to learn about the changes to the marching band scoring system and judging panel changes!

Information on all captions for marching band, timing and penalties, general adjudication information, Q&A, Group discussion on OMEA policy and events.

More Information: omea-ohio.org APRIL/MAY 2020

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NAfME ACADEMY Dates: Anytime – from your own home!

Cost: $20 for a NAfME member subscription Description: Webinars available for a variety of topics, including jazz, instrument repair, general teaching improvement strategies, instrument specific topics, inclusion, differentiation and grant writing.

More Information: nafme.org/community/elearning BAND DIRECTORS TALK SHOP – SELF STUDY Dates: Anytime – from your own home!

Cost: FREE! Description: Hundreds of articles covering a huge spectrum of band related topics. A tracking and reflection sheet is provided to track and reflect on the articles that you read.

More Information: banddirectorstalkshop.com/ professional-development-for-band-directors/ CONDUCTING WORKSHOPS The possibilities here are numerous! Many colleges across the country offer conducting workshops in the summer months.

You can find more information on any of these by googling the college name, followed by “conducting workshop.” The list below is a good starting point with names and dates for several of the available workshops. In any of these workshops, you can expect to work with college conducting and education faculty

from the host school, with some schools offering sessions with national-level conductors and clinicians. Prices vary depending on the location.

• University of Minnesota – July 13-17 • University of Colorado – June 7-12 University of Michigan – June 14-19 • University of Texas, Austin – June 14-18 • Northwestern University – July 5-10 • Sonoma State University – June 22-26 • International Conducting Institute – June 2-6 (Columbia, Missouri) & July 14-24 (Czech Republic) • University of Texas Conducting Workshop, Arlington – June 22-26 • University of Oklahoma – June 10-12 • University of Massachusetts – July 30-August 2 US Army Band Conducting Workshop (Fort Myer, Virginia) – July 12-16 Heather Marsh is in her 14th year of teaching, currently serving as the director of bands in the Arcanum-Butler Local School District.

She has served OMEA as a district treasurer, vice president, president, member of the OMEA Band Music Selection Committee, and has been an OMEA adjudicator since 2010.

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M AST E R I N G T H E C R A F T T EC H N O LO GY

TRANSLATING MUSIC TO AUDIO: BASIC TERMINOLOGY RYAN VAN BIBBER, COLUMBUS CITY SCHOOLS

Today’s musical landscape is saturated with technology, from composition and sound design to notation and publication.

Music technology classes in public schools are exploding in popularity, accessibility, and affordability. The world of the audio engineer and the music educator are closer than ever, so it might be helpful to understand how some audio engineering terms relate to concepts in traditional music education.

Our traditional ensembles and instrument families reflect an inherent understanding of frequency balance. We like to hear “tall” music, in which the wide spectrum of frequencies is well-represented. The SATB standard is a perfect example, whether it’s soprano, alto, tenor, and bass voices, or trumpet 1, trumpet 2, trombone, and tuba.

VOLUME/DYNAMICS = AMPLITUDE

PITCH = FREQUENCY

Musicians think about notes in terms of pitch, key, half-steps, whole-steps, octaves, and intonation. Audio engineers more typically speak of frequency, a much finer gradation of pitch, grounded in the physical science of sound. Tones are not just “sharp” or “flat,” they are different frequencies. An octave represents a doubling or halving of frequency.

Most musicians are familiar with A=440. The 440 refers to the frequency of 440 hertz (Hz).

The A an octave above that is 880 Hz, while the A an octave below it is 220 Hz.

Composers still use Italian terms to communicate the relative loudness of a section of music- piano, forte, etc. Audio engineers think in terms of the amplitude of a sound— the degree to which a sound can make air move more or less violently. Amplitude is measured in decibels (dB), and audio engineers are accustomed to having a great degree of control over this aspect of music. When they want something to be played pianissimo, they can just turn the fader down!

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One interesting difference between the world of traditional “classical” music and popular music is the value placed on dynamic contrast. In the traditional model, large, drastic changes in volume level are part of a satisfying aesthetic experience. Popular music, on the other hand, largely eschews these extreme level changes. One reason is that popular music in America came into prominence at the same time as the automobile. In order to be heard above the road noise of a busy highway, music had to be consistently loud, and the louder the better. In place of dynamic contrast, popular music makes great use of textural and timbral changes to provide variety, interest, and form.

DYNAMIC CHANGES = AUTOMATION

PARTS = TRACKS

Conductors are adept at reading large scores in which each instrument has its own horizontal staff.

In a digital audio workstation (DAW), this is roughly equivalent to having each recorded or MIDI instrument on a track, with a similar horizontal orientation.

Instead of bar lines, DAWs use grids, which can usually be customized to show musical bars and beats, minutes and seconds, or both. The same rules for melody, harmony, rhythm, texture, and form apply when composing in a DAW as they do when writing a traditional score.

ARTICULATIONS AND CUTOFFS = SOUND ENVELOPE (ADSR)

Some dynamic markings are, well, dynamic— they change gradually, such as crescendo and diminuendo. In the audio engineering world, this is often accomplished through the use of automation.

Automation is how the engineer or producer sets up changes in different aspects of the music over time.

Automation is written into the music tracks with breakpoints, which can be drawn in with the mouse or recorded in real time.

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Music teachers are well acquainted with the difficulties of getting their students to produce a wide variety of articulations and cutoffs accurately and consistently. We have many terms to indicate how a note should be played and how it should end— staccato, legato, marcato, tenuto, and many more. To the audio engineer, these variations can be indicated by the shape of the sound envelope.

The sound envelope is a graph of a sound broken into four parts: Attack, Decay, Sustain, and Release (ADSR). Attack refers to the how quickly the sound

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starts and reaches its peak intensity. Decay indicates the length of time between the peak of the sound and the main part of the sound. Sustain is the main part— the “note.” Finally, Release is how long it takes for the sound to die away completely. Attack, Decay, and Release are usually measured in milliseconds (ms), while Sustain can be measured in terms of time (ms) or loudness (dB).

These are only a few examples, but knowing this information can give music teachers an added layer of understanding about the sounds their ensembles are making. For instance, if you hear the wavy sound when two instruments are out of tune, you are hearing the characteristic “beats” of two frequencies that are close together, as they alternately reinforce and cancel each other. If you hear a brass player overblow a note, you have heard the effect of a fast attack with too much amplitude, followed by a slow decay. If you have singers who “scoop” up to a pitch, they are producing a sound with a slow attack.

This information can also help the traditional music teacher become more comfortable manipulating sound equipment. Most mixing boards have equalization

(EQ) controls on each channel. If you know that those knobs represent frequencies, you use can use them to mitigate acoustic problems in your auditorium, enhance the intelligibility of a guest speaker, or simply cut out the extra rumble of room noise.

As music education begins to catch up to the larger world of modern music creation, it is important for teachers to embrace new ways of perceiving and understanding sound and music. Our students hear these characteristics, even if they don’t know how to talk about or describe them. Our knowledge, individually and collectively, will make the difference in how they relate to the sonic landscape around them.

After all, it’s our job to educate their ears!

Ryan Van Bibber has taught music in Columbus City Schools for the past 18 years, including instrumental music, general music, and music technology.

He currently teaches audio and music production at the Fort Hayes Career Center and Columbus State Community College and serves as the president of TI:ME Ohio.

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C R E AT I N G N E W PAT H WAYS TO M U S I C I A N S H I P

KEEPING STUDENTS MUSICALLY ENGAGED OVER THE SUMMER LISA MARTIN, BOWLING GREEN STATE UNIVERSITY

Summer break can be a challenge.

Although the time off can be rejuvenating for teachers and students alike, the instructional interruption can make it difficult to transition back into the school year. How can we keep our students musically engaged over the summer months? In this article, I offer a few suggestions for how to keep students musically active when they are away from the classroom.

LISTENING LISTS

Just as students are assigned summer reading lists, so might students have summer listening lists. You can customize these lists to fit specific classroom contexts and student levels, and such lists could either be prescriptive or creative in nature. Prescriptive listening lists would involve students listening to assigned recordings. These might be posted on or linked to via a class website, and they could support content covered in the previous school year and foreshadow content to be covered in the year ahead. To enhance the value of prescriptive listening lists, you can add guiding questions to accompany each recording. These prompts should be kept developmentally appropriate, given the grade level of the students for which they assigned.

For example, a prompt for a younger student might be, “What instruments did you hear in this recording?” whereas a prompt for an older student might be, “What broader message do the lyrics convey in this song?”

Conversely, creative lists are a bit broader in nature, allowing students to go on a musical scavenger hunt to identify pieces of music or popular songs that fit certain criteria. A summer listening list for a middle school general music class could involve students finding songs in a variety of musical genres. Perhaps students need to identify and listen to a work that is bluegrass, a hip-hop tune, an operatic aria, and an electronic dance music track. Students then find and listen to these pieces on the Internet, on the radio, or among the musical resources they have at home. Prompts can also be coupled with creative listening lists, though such prompts may need to be more generic to appropriately complement the variety of works students identify. To bring the listening lists back into the curriculum in the fall, students can rank their favorite tracks to create a “bestof” list, which you could then use as a starting point for conversation or instruction. These rankings are also valuable data for you to determine students’ musical taste preferences, which could inform an instructional unit.

PERFORMANCES

Live musicking is another meaningful way to keep students musically involved over the summer. For example, you could create a list of live listening opportunities by compiling a calendar of local performances in the area.

Keeping these performance opportunities at low- or no-cost helps ensure more families can APRIL/MAY 2020

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consider participation. Local libraries sometimes host musical programs for younger children, and your local community or parks district might offer free summer concerts. Students could also “attend” a performance via live stream or engage with a live radio program such as Live from Here with Chris Thile on National Public Radio.

More experienced students might appreciate engaging in live musicking experiences as the performer. If you teach high school students, for example, you could arrange a low-key, midsummer “coffeehouse” for students to perform solos or small chamber works. Creating a performance opportunity for students during the summer may motivate them to keep up with their voice or instrument during the break.

This option could also serve as a potential fundraising opportunity for your program. Alternatively, interested students can connect with a local retirement facility or community organization that might be interested in hosting periodic performances. Empowering your students to operate as their own managers in this scenario could heighten the overall value of the experience.

ORIGINAL COMPOSITION

Students of all ages can create their own original works over the summer, as well. Consider challenging younger students to find something in nature that they can use to create a musical sound, perhaps even coupling their discovery with a friend’s creation.

Younger students might also enjoy creating their own instruments, such as a shaker or a drum, using materials they find around the house, to use for their composition. Developing students might notate an original melody for their voice or instrument or create an electronic composition using software like Looplabs. Still other students may aspire to compose collaboratively on a larger scale project or create music to accompany spoken word. When students return in the fall, you could have students showcase what they created.

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WEB-BASED RESOURCES

There is a multitude of web-based software that students can explore to supplement their musical understanding over the summer months. PBS Kids offers many options for musical exploration for young students, and websites like themusicinteractive.com offer a variety of options for developing musicians, including rhythmic dictation, note identification, and interval training. Students could create friendly competition with one another using sites like musicracer.com, where users are timed on how quickly they can identify fingerings, note names, and terminology. To ensure all students have access to web-based resources, consider reaching out to your local public librarians to familiarize them with these websites.

SUMMARY

Even though we do not see our students over the summer, there are still many opportunities for them to remain musically engaged. When selecting these optional opportunities to share with your students, always consider ways to close the loop when they return back in the fall. This practice will help bring more meaning to the activities those students explored while also establishing a culture that values musical learning both inside and outside the classroom.

Dr. Lisa Martin currently serves as Assistant Professor of Music Education at Bowling Green State University, where she teaches undergraduate and graduate music education courses. Prior to her appointment at BGSU, she taught middle school band and orchestra for nine years in Illinois and Colorado. Her research interests include music teacher identity development, assessment practices in music education, and music teacher evaluation.

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2020 O M E A R ES E A RC H POST E R S ES S I O N S

OMEA PDC 2020 RESEARCH POSTER SESSION SUMMARY SHAWNA K. HINKLE, KENT STATE UNIVERSITY & DOVER CITY SCHOOLS

OVERVIEW

The Ohio Music Education Association hosted a research poster session organized by Dr. Patricia Grutzmacher, chair of the OMEA Research Committee, during the 2020 Professional Development Conference in Cincinnati. Nine music education research posters were shared by graduate and undergraduate students representing Case Western Reserve University, Kent State University, and The Ohio State University. This method of research presentation and discussion allows practicing teachers and students to explore meaningful and relevant research currently taking place in the field of music education.

STUDENTS’ PERCEPTIONS OF QUALITY MUSIC PROGRAMS IN RURAL SCHOOL DISTRICTS Eric Bable is a secondyear doctoral student at Kent State University and music teacher at Crestview High School. His study was designed to examine the determinants of quality music programs as perceived by students in rural high schools. High ranking factors contributing to a quality music program were found to be music teacher dedication, music teacher skill and knowledge, improving musical skills/ performance, and student enjoyment of music program participation. Eric’s inspiration for the study stemmed from his personal experiences growing up and teaching in a rural environment, as well as his belief that research related to the rural music education setting may be often overlooked.

VIDEO: ERIC BABLE OMEA POSTER SESSION 2020

RIDING THE WAVES: A BRIEF HISTORY OF FEMINIST SCHOLARSHIP IN MUSIC EDUCATION Sarah L. Deskins is a third-year doctoral student at Kent State University and K-2 music teacher at Niles City Schools. The purpose of her study was to provide a deeper understanding and awareness of the history of feminist scholarship within the music education profession. Three distinct waves of feminism and their representative time periods were examined, as linked to feminist scholarship within music teaching and learning. Sarah’s primary research interest is women in music education regarding the connection of political activism and scholarly work within the academy.

VIDEO: SARAH M. DESKINS OMEA POSTER SESSION 2020

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COMPREHENSIVE-STYLE ANALYSIS OF L.P. LAURENDEAU’S TRANSCRIPTION OF TCHAIKOVSKY’S MARCHE SLAVE William Kish is a first-year doctoral student at Kent State University and band director at Norwalk City Schools. His project utilized the five elements of comprehensive musicianship: music selection, analysis, learning outcomes, teaching strategies, and assessment. Will’s poster was inspired from “an assignment during his master’s work.” He enjoyed learning and then implementing teaching strategies outlined through the method of comprehensive musicianship.

VIDEO: WILLIAM KISH OMEA POSTER SESSION 2020

AUDIENCE ATTITUDES AND BELIEFS TOWARD WOMEN COMPOSERS: IMPLICATIONS FOR MUSIC EDUCATION Trevor Marcho is a Ph.D. candidate and Global Arts and Humanities Discovery Themes Fellow at The Ohio State University.

In this quantitative study, he found that careful curricular planning could lead to more equitable representation of the compositional contributions of women to orchestral literature. Trevor’s research interests include gender diversity in music education and music cognition.

VIDEO: TREVOR MARCHO OMEA POSTER SESSION 2020

BREAKING THE BRASS CEILING: DEVELOPMENT OF SOCIAL COMMUNITIES IN A HIGH SCHOOL MUSICAL THEATER CLUB William Klein is a second-year doctoral student at Kent State University and vocal music director at Austintown Fitch High School. “The purpose of this study was to determine whether high school students in extra-curricular musical theater clubs, and who were not in band or choir, were able to have positive social communities.” Bill’s inspiration for this study grew out of his interest to see if any connections existed between the social community in his classroom teaching environment and in the extra-curricular setting.

VIDEO: WILLIAM KLEIN OMEA POSTER SESSION 2020

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AN ARCHIVE OF ORAL HISTORIES OF PIONEER PROFESSIONAL WOMEN BRASS PLAYERS OF THE UNITED STATES

Wendy K. Matthews, associate professor in music education at Kent State University, recruited Faye Maccaglia and Kaitlin Mabrey, both senior music education majors at KSU, to assist her with the final stages of a descriptive multiple-case study. Three years of interviews were used to explore careers, barriers, and pioneering attitudes of the real-life context of decisions to pursue and persevere in the music profession. One of the findings include discussions of how social change has impacted the participants’ careers and musicianship.

Faye and Kaitlin said it was interesting to experience research as undergraduate students, and they enjoyed the opportunity.

VIDEO: FAYE MACCAGLIA & KAITLIN MABREY (WENDY MATTHEWS) OMEA POSTER SESSION 2020

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MUSIC TEACHERS WHO BECOME PRINCIPALS: A CASE STUDY OF PRINCIPAL/MUSIC TEACHER INTERACTIONS Bethany Nickel is a doctoral student at Case Western Reserve University. She is also a research assistant and teaches woodwind methods.

This case study explored perspectives of six principals who began their careers as music teachers and their interactions with music teachers. Bethany said she was “too scared” to openly communicate with her principal during her first year of teaching and seeks to find ways to help novice music educators feel more confident when entering the professional education environment.

Music literacy and international teaching experiences are also areas of research interest for Bethany.

VIDEO: BETHANY NICKEL OMEA POSTER SESSION 2020

AND THE BAND PLAYED ON: MUSIC EDUCATION AFTER FOOTBALL David Thompson is a Ph.D. candidate at Kent State University and the career tech music teacher at GlenOak High School.This quantitative descriptive pilot study was designed to determine if marching bands and other ensembles and classes in high school music programs were affected by cancelled football programs. The inspiration for this study came to David one morning when he was watching a segment on the TODAY Show that profiled a high school losing its football program. David wondered what happened to the marching band and began his inquiry.

VIDEO: DAVID THOMPSON OMEA POSTER SESSION 2020

THE EFFECTS OF EURHYTHMICS INSTRUCTION ON PULSE PERCEPTION: A PILOT STUDY Laura M. Weidenfeld is a third-year doctoral student at Kent State University and teaches music education courses at the University of Akron. The quasi-experimental study consisted of a pretest and posttest examining the effect of Dalcroze Eurhythmics instruction on collegiate music theory students. Laura’s inspiration for the study came from her desire to see if implementing a eurhythmics method of instruction would influence college students’ abilities to read 6/8 rhythms with better accuracy.

VIDEO: LAURA WEIDENFELD OMEA POSTER SESSION 2020

CONCLUSION Proactive forward-thinking research is being completed by practicing teachers and students in the field of music education. Social, emotional, and cultural topics are driving much of the inquiry to assist music educators in gaining a better understanding of the ever-changing student population. Attending research sessions offered though the OMEA Research Committee allows music educators opportunities to reflect upon pedagogical connections between theory and practice and the impact of music education on the lives of those we teach.

Shawna K. Hinkle is a first-year doctoral student at Kent State University and a 6-12 vocal music teacher for Dover City Schools. She holds degrees from Muskingum University (BME) and Kent State University (MME). Her research interests include student learning related to self-efficacy and middle and secondary choral rehearsal pedagogical practices.

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O H I O A L L I A N C E FO R A RTS E D U CAT I O N

NEW RESOURCES AND PROGRAMS FROM THE OHIO ALLIANCE FOR ARTS EDUCATION JARROD HARTZLER, OAAE EXECUTIVE DIRECTOR

Greetings from the Ohio Alliance for Arts Education! At the time this article is being drafted, I’ve been the “new” Executive Director of the OAAE for just over five months. What a busy five months those have been. There are several exciting programs and projects for which I would like to share updates.

ARTS EDUCATION DATA PROJECT We are happy to be releasing a new and revised dashboard complete with four years of longitudinal data taken straight from the Ohio Department of Education’s EMIS system. Want to learn how many students have access to, or are enrolled in your district, school, neighboring district? That’s all possible with this tool. Visit https://oaae.net/ohio-arts-education-data-project to learn how this tool can help your advocacy efforts. We are thankful to our partners, the Ohio Arts Council and the Ohio Department of Education for their work and support.

OHIO ADVOCATES FOR ARTS EDUCATION The OAAE is proud to partner with the Ohio Citizens for the Arts and the Ohio Arts Council to provide this new program for Ohio students.

Each spring prior to Arts Day and the Governor’s Awards for the Arts, the OAAE will select up to six schools. Selected schools will have students trained in advocacy who ultimately attend Arts Day and visit all of the Ohio Legislature to share the importance of arts education in their schools.

These students will also attend the Governor’s Awards for the Arts Luncheon. Participating

students will learn the importance of sharing their stories and will talk with elected officials about the inner workings of the legislative process.

OHIO TEACHING ARTIST ROSTER Have you ever wanted to increase the depth and impact of student learning by bringing professional teaching artists to your school or classroom? The OAAE, Ohio Arts Council, OhioDance, Center for Arts Inspired Learning, and Art Possible Ohio have helped make these resources available. These organizations have vetted over 40 teaching artists who possess understanding of arts integration, assessment, and in-depth residency planning. Members of the roster are from nearly every art form, and a residency can last just a few days or for an entire school year. Visit the roster at https://oac.ohio. gov/Resources/Ohio-Teaching-Artist-Roster to learn more.

On behalf of the OAAE staff, board, and members, we wish you the best in your pursuit to provide Ohio’s students with high quality arts education opportunities.

Jarrod Hartzler is the newly appointed executive director of the Ohio Alliance for Arts Education. He has coordinated community arts and education programs and worked to establish partnerships with schools and other arts and community organizations all around the state of Ohio.

Hartzler is graduate of The College of Wooster and was a 2008 Arts Management Fellow at the John F. Kennedy Center for the Performing Arts.

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OHIO CHORAL D I R ECTO RS AS SOC I AT I O N

SPRING OCDA REPORT BRANDON MOSS, OCDA PRESIDENT

Springtime is a very active season for the Ohio Choral Directors Association. Our leadership is busy preparing for major OCDA-sponsored events that take place over the summer, and educational opportunities for our members—and their students—abound.

The OCDA Summer Conference takes place June 22-24 on the campus of Otterbein University in Westerville. Our headliners include Janet Galván, Jacob Narverud, and Zebulon Highben.

Galván is director of choral activities at Ithaca College and is in demand the world over as a clinician and conductor. Narverud is a highlyesteemed composer and conductor, having published dozens of titles, including the popular “Jambo”, “Sisi ni moja”, and “Lunar Lullaby”.

Highben is director of chapel music at Duke University Chapel and also an award-winning composer. The summer conference will feature interest sessions and conducting master classes by the clinicians, concerts by some of Ohio’s best choirs, and reading sessions of excellent choral music hand-chosen by OCDA’s repertoire and resources chairs.

The conference will also feature three honor choirs—the children’s honor choir, for unchanged voices in grades 4-8, directed this year by Jeanne Wohlgamuth; and the high school men’s and women’s honor choirs directed by Richard Schnipke and Sandra Mathias. Information on sending students to these events and registering for our summer conference can be found on our website.. There is also a scholarship available for one active and for one student registration to this year’s summer conference. Refer to the website for the scholarship application.

OCDA has also been and continues to be active during the early months of 2020, with two regional elementary choir festivals and a new pilot program for clinics by retired members. Partnering

with many OMEA districts, OCDA co-sponsored an elementary choir festival on February 29th at the College of Wooster with clinician Lisa Wong and another festival on March 14th at the Bowling Green Performing Arts Center with clinician Sarah Santilli. We hope to be able to increase the number of festivals for next year, so if you are interested in hosting one in the Southwest or South Central Regions, please contact me.

We also piloted a program beginning in February for interested high school and middle school choir directors taking students to OMEA Adjudicated Events, whereby we work to connect them with a retired member who will clinic the ensemble prior to the event. OCDA is subsidizing the travel costs for these sessions and hopes to expand the program in the future. Information may be found on our website.

Finally, OCDA is now accepting applications seeking our sponsorship of interest sessions at next year’s OMEA Professional Development Conference. Those applying will send their proposals to OCDA, who will then select 4-6 sessions and upload them to the OMEA Portal.

Those not selected will be notified in plenty of time to submit their session directly to OMEA. Please visit our website, www.ohiocda.org, for all information, or contact me at brandonlmoss@ gmail.com with questions. I hope to see you at the summer conference!

Brandon Moss serves as Director of Choirs at Central Crossing High School in Grove City, where he teaches five choirs. He is also Director of Music and Chalice Choir at First Unitarian Universalist Church in Columbus. Moss recently served as President of OMEA District 15 and has twice chaired the Ohio All-State Choir. He holds degrees from Otterbein University and The Ohio State University, where he is completing the Doctor of Musical Arts degree in Conducting.

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O M E A A DJ U D I CAT E D E V E N TS

AE COMMITTEE REPORT JAY WARDESKA, AE COMMITTEE CHAIR

We wish to extend our sincere gratitude to Dr. William Guegold, director of adjudications. He will be retiring as of June 30. Bill has given selflessly to the OMEA organization for decades. Please join us in thanking him for his outstanding service. He will truly be missed.

SUMMER SESSIONS FOR MEMBERS There will be three summer sessions held in June, and attendance is open to all OMEA members. These sessions are a great way to contribute to the adjudicated events experience and to learn from our adjudicators and clinicians. The dates and locations are as follows: June 6th at The Ohio State University Steinbrenner Band Center, June 11th at Amherst Steele High School, and June 30th at Kettering Fairmont High School. Please visit the OMEA website for exact times of the sessions.

ADJUDICATED EVENTS REGISTRATION AND FEES All adjudicated event dates and registration deadlines are listed on the OMEA website.

Late registrations cannot and will not be accepted for any OMEA Adjudicated Event.

The registration portal opens eight weeks prior to the event and closes at midnight four weeks prior to the event. To access the dates and deadlines, login as a member and access “AE Information” in the menu. You will find the dates listed under “Long Range Calendars.”

It is extremely important that you become ADJUDICATOR EVALUATION SYSTEM familiar with these deadlines. Please register We are seeing a decline in the number of early for all adjudicated events to avoid directors submitting evaluations to the online potential last-minute issues. adjudicator evaluation system. It is imperative that all directors submit evaluations of the MARCHING BAND STRATEGIC adjudicators who have provided feedback to PLAN IMPLEMENTATION you and your students throughout the school The marching band strategic plan has year. This information drives the professional reached the final phase with the revision of the development program for our adjudicators. marching band adjudication captions and a new These data are needed to continue improving scoring system. These changes were presented our adjudication experiences. Please remember in a special session at the OMEA Conference. that positive feedback is important as well.

Directors and adjudicators are encouraged to

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attend the summer sessions to get a full understanding of the new system. Special thanks to JD Latorre and Chris Carmean for spearheading the implementation of this new system.

CURRENT STATE OF PUBLISHING AND IMPACT ON REQUIRED LISTS The nature and number of publishers who have gone out of business and the rise of electronic publication and printing is having an impact on the availability of music for both the required performance literature lists and the sight-reading repertoire. The committee is working with representatives in the industry to find solutions to this growing problem.

AE COMMITTEE MEMBER SPOTLIGHT – THAI SRIBANDITMONGKOL Thai joined the committee in 2019 as the Creative Events Chair. Thai is the current director of vocal music at Olentangy Berlin High School and has held previous positions in vocal music in the Heath City Schools and in the New Albany-Plain Local Schools.

Jay Wardeska is the Director of Bands and Music Department Chair for the Brunswick City Schools. He holds degrees from Kent State University and Mount Union College and has been a music educator since 1990.

He is an active OMEA Adjudicator and has been presented with a number of awards and honors including being named the 2013 National All-American Band Director of the Year by NAfME and the US Army. In addition to OMEA and NAfME, Mr. Wardeska is a member of Phi Beta Mu and the American School Band Directors Association.

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Music Education at The College of Wooster

The College of Wooster offers comprehensive studies in Music Education, culminating in a Bachelor of Music Education degree and Ohio teacher licensure. Our students are mentored by expert musicians and educators, and graduate with a solid foundation of performance skills, content knowledge, and practical experience.

• Classroom observations and teacher assistance in your first semester at Wooster • Small class sizes allow for personalized attention • Expert training in instrumental, choral, and general music teaching techniques

Independent Minds, Working Together www.wooster.edu

• Perform each semester in ensembles dedicated to musical excellence • Study in a rich liberal arts environment alongside diverse and supportive peers

Visit: www.wooster.edu Contact Dr. Lisa Wong, Associate Professor of Music at Lwong@wooster.edu

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T R I - M N E WS

THE “STATE OF TRI-M” IN OHIO: 2019-20 JUSTIN CAITHAML, STATE TRI-M ADVISOR

As my fourth year of serving as State Tri-M Advisor concludes, I wanted to provide a “State of Tri-M” update to identify what we are doing well and to set goals for the future.

It is important that a positive spirit of starting new chapters across our state continues into the 2019-20 school year. If you currently have a chapter at your school, consider reaching out to teachers in neighboring districts and offer to help support them in starting a new chapter.

This year at the OMEA Professional Development Conference, I was able to talk to colleagues from three neighboring districts and convinced them to start chapters simply by offering to help them plan their first Tri-M induction ceremony. If you do not currently have a chapter at your school, but would like to start one, just send me an e-mail at jcaithaml@ midviewk12.org. I will provide you with some resources to help get your chapter up and running and can connect you with schools in your area that have an existing chapter. If you are an OMEA district officer, consider appointing a district Tri-M advisor to help oversee the Tri-M chapters in your district and promote collaboration among chapters in your area.

Looking to the future, it is entirely possible to double the number of Tri-M chapters in Ohio by 2021. If each OMEA district started

three new chapters by next school year, this goal would be met. I sense that there is a new enthusiasm for the value of Tri-M within a school’s culture, and it is time that more students across Ohio have the opportunity to be recognized for their exemplary musicianship and leadership skills.

To me, the goal of Tri-M can be summarized with the following equation: “Recognizing successful music students + meaningful service = Strong advocacy for music education!”

Tri-M chapters strengthen the case for the importance of music everywhere! So what are you waiting for? Start a chapter at your school and show everyone in your community why music is so important!

Justin Caithaml currently teaches 7-12 choir at Midview Local Schools and is completing a Master of Arts in Music and Music Education at Teachers College, Columbia University. He serves as the state advisor for the Tri-M Music Honor Society and is fully certified in Orff-Schulwerk. In addition, he serves as President of the Board of Directors at the Ohio Alliance for Arts Education.

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Bachelor of Music (BM) Music Composition Music History & Literature Music Performance: Keyboard, Strings, Voice, Woodwinds, Brass, Percussion Music Theatre Music Theatre Direction Music Theory Music Therapy

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OCMEA UPDATE WENDI BECHTOL-DAVIS, OCMEA STATE ADVISER

Wendi Bechtol-Davis is the band director and OCMEA had a very strong showing at the professional general music teacher for grades 5-12 in the development conference in Cincinnati with over 700 Cory-Rawson Local School District. Her public collegiate members in attendance and 245 at the block school teaching experience includes one year party. Congratulations to the following OCMEA at Vanlue Local Schools and twenty-six in her members who were recipients of $750 student teaching scholarships, provided by the Ohio Foundation for current position at Cory-Rawson. Under her direction, the CoryRawson Band program has developed a long-standing tradition of Music Education:

Megan Gwirtz, Heidelberg Giselle Haas, University of Cincinnati Joanna Hrepcak, Akron Amelia Imada, Xavier Bernadette Wolfe, Heidelberg

success at OMEA Large Group and Solo & Ensemble Adjudicated Events. Ms. Bechtol-Davis is a member of ASBDA, MENC, and OMEA, where she serves as a large group and solo & ensemble adjudicator. During her time at BGSU she was the OCMEA state president for two years. In 2006, she was honored as the “Outstanding Educator” for Cory-Rawson Local Schools.

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(800) 992-6682 mountunion.edu/music APRIL/MAY 2020

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H I G H E R E D U CAT I O N

HIGHER EDUCATION ASHLAND UNIVERSITY Dr. Rowland Blackley, professor of music and director of choral activities, will conduct the Ashland Symphony Orchestra in a subscription concert and guest conduct at a PMEA festival this spring. He had two original choral compositions published: “Gray Eyes” for SSA, poetry by Sara Teasdale, plus a TBB setting of Ben Jonson’s poem, “Song to Celia.” He conducted Bach’s Cantata No. 9 and all choral and orchestral music in a Bach-era vespers service setting. Dr. Thomas Reed, professor of music and chair for the departments of music and theatre, played baritone saxophone in a recording of the music of Tadd Dameron with a big band led by Kent Engelhardt of Youngstown State University. Reed continues to perform as a clarinetist with the Akron and Ashland Symphony Orchestras. Dr. Stefan Swanson, visiting assistant professor of music (composition, theory, technology) scored two feature films, Escaping Fed and Hard Laughter, which are currently streaming on Amazon, and premiered an original composition Women of World War II with Joseph Lewis, Jr. and the Ashland University Symphonic Band.

CASE WESTERN RESERVE UNIVERSITY Congratulations to CWRU Ph.D. candidate Jason Falkofsky and CWRU Ph.D. students Bethany Nickel and Dennis Giotta, who offered workshops, research presentations, and poster presentations at the 2020 OMEA Professional Development Conference.

Dr. Lisa Huisman Koops, Area Head, Coordinator of Graduate Studies, and Professor of Music Education, published the book Parenting Musically (Oxford University Press). Based on ethnographic fieldwork with eight Cleveland-area

families, Parenting Musically portrays families’ use of and interactions with music in home, school, and community spheres.

CWRU Music Education hosted Dr. Elizabeth Cassidy Parker of Temple University for a residency in November, 2019. Dr. Parker led an undergraduate seminar on current issues in music education and a graduate seminar on qualitative research methodology from her perspective as a journal reviewer. Dr. Parker presented “What We Might Learn from Listening to the Voices of Adolescent Musicians” for the Music Department Colloquium, highlighting research from her forthcoming book Adolescents on Music (Oxford University Press).

COLUMBUS STATE COMMUNITY COLLEGE Thomas Lloyd celebrated twenty years as band director at Columbus State with a fall concert featuring guest artist James Predovich playing Debussy’s “Two Dances for Harp.” James is a Columbus State graduate who is now completing doctoral studies at The Cincinnati CollegeConservatory of Music. Also on the program were William Grant Still’s “Choreographic Prelude” in a new transcription by Thomas Lloyd and “Silver Light” by Benjamin Yeo, a work co-commissioned by Columbus State. Choir Director Elizabeth Scinto presented a program celebrating two decades of Chorus Columbus State. Retired director Gordon Franklin was honored. Jazz Ensemble Director Kie Watkins gave his first performance at Columbus State in the fall. The Columbus State Gospel Vocal Ensemble (GVE), under the direction of Emma Easton, released its second recording entitled “Seasonal Soulful Joy” which featured a collaboration with regional recording artist Sean APRIL/MAY 2020

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Scales. GVE launched its first Rejoice Gospel Choir Conference including workshops and a concert. Easton’s students in the Business of Music class are assisting with behind-the-scenes management at the King Arts Complex and Eastmoor Academy this semester. Rocco Di Pietro has completed a transcription for Columbus State Concert Band of his 2014 composition “Lost Prayer.” His string quartet “Imaginal Listening” was performed in New York City last fall by the Mivos String Quartet. Yuri Bortz presented an end of semester concert featuring students from his Beginning Composition class. The sixth Student Composers Showcase was presented at Columbus State’s Center for Technology and Learning. Eight students participated in a program of six original works featuring piano. voice and piano, guitar, electric string trio, and percussion. Ryan Van Bibber is now teaching Columbus State’s Audio Production class.

KENT STATE UNIVERSITY Kent State University was well represented at the OMEA Professional Development Conference in Cincinnati. Faculty, graduate, and undergraduate students were featured in more than 40 individual events on the conference schedule. Congratulations to Dr. Chris Venesile and Maria Jacobs, directors of the Nova Jazz Singers, and Dr. Matthew Holm, director of the KSU Percussion Ensemble, for their groups’ very fine performances. We were also thrilled to see so many of our alumni at the Friday night reception!

Over the last several months, Dr. Wendy Matthews has published articles in both the International Trumpet Guild Journal and Research and Issues in Music Education Journal. Dr. Matthews has presented at several conferences and has conducted honor bands in Ohio and Michigan.

Dr. Butch Marshall has started an early childhood music program at a Head Start facility in Kent. This program, funded by a grant from the Crooked River Foundation, brings music instruction to an underserved population of very young students, and serves as an early childhood teaching lab for our pre-service and graduate music education students.

Dr. Jay Dorfman and Dr. Janine Tiffe (ethnomusicology) have received a grant from the Les Paul Foundation which will fund a curriculum development project for university-level Rock History classes.

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In early January, Dr. Wendy Matthews (Interim Director of Bands) and Dr. Kate Ferguson (Director of Athletic Bands) hosted our regional honor band, AllStar Band. We were thrilled to welcome more than 180 students from 47 schools to this special event.

We are pleased to announce that we will be hosting three classes/workshops in the summer of 2020: Jump Right In! Recorder with Richard Grunow and Kathy Liperote, Rock Band Performance & Pedagogy with Jay Dorfman and Kevin Coyne, and Orff Levels 1 & 3. If you are interested in any of these courses, please email jdorfma2@kent.edu for more information.

OHIO NORTHERN UNIVERSITY Dr. Sarah Waters recently served as a peer reviewer for the Fulbright U.S. Scholar Peer Review Committee in Washington DC. She assessed Fulbright Scholar applications from over 140 countries around the world in the discipline of music. She was the guest clinician and performer at the Gahanna High School Percussion Festival and will also serve as guest conductor for the Hancock County Honors Band this spring. Waters is currently serving as the music director of the Lima Area Youth Orchestra.

Adjunct Instructor Dale Laukhuf is the principal trombonist in the Lima Symphony Orchestra. He also regularly performs with Old Crown Brass Band in Ft. Wayne, Indiana and with the Lima Area Concert Band.

Adjunct Instructor Dr. Alan Smith performed a guest cello recital and gave a master class at the College of Musical Arts at BGSU. This spring, he will be performing eight cello recitals and four master classes during a twoweek tour of Brazil.

Adjunct Instructor Dr. Erin Helgeson Torres has performed this season with the West Virginia Symphony Orchestra as permanent season substitute, on top of her normal orchestral work. Erin also played principal in The Queen City Opera’s production of Tchaikovsky’s Iolanta, which is a semi-finalist for an American Prize. She will be presenting her articulative research as a guest lecturer at the Puerto Rico Flute Symposium in June.

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Support the Mission of the Ohio Music Education Association with a donation to the Ohio Foundation for Music Education.

To view the current list of Donors with Recognitions/Memorials to the OFME, please CLICK HERE. Yes, I want to support music education in Ohio and insure that the benefits acquired by students experiencing music are available for them now and in the future. Please apply my gift as indicated.

Donor Information: (Please print legibly or type this form.)

Name:__________________________________________________________________________________________ Street Address:___________________________________________________________________________________ City:______________________________________________ State:____________ Zip + 4_________________________ Email Address:___________________________________________________________________________________ Best Phone:_______________________________________ _____OMEA Member

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_______ Charles H. Benner Leadership Academy _______ This is my Annual Campaign Contribution for calendar year 2020.

Recognition/Memorials: Please list how you wish to be recognized on our website and in our publications.

(Example: John and Jane Smith) _________________________________________________ , or

please do not list my/our names.

This gift is: In Recognition of:______________________________________________________________________

In Memory of:__________________________________________________________________________

______ Certificate or _____ Card of Donation Acknowledgment. Send to:

Address________________________________ City_________________ State________ Zip___________ Note: The Ohio Foundation for Music Education is a 501(c)(3) non-profit organization under the Internal Revenue Code.

A donation acknowledgment letter will be provided for tax purposes.

Checks made payable to: Ohio Foundation for Music Education Credit Card Payment: Name on Card: ______________________________________________________

Card # _____________________________________Expiration: _____/_____ 3-Digit: __ __ __

Or go to http://www.ohiofoundationformusiceducation.org/ to make a secure online credit card donation.

Send this completed form with check/cc payment info to: _Ohio Foundation for Music Education

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SCHOOL OF MUSIC YOUTH SUMMER MUSIC PROGRAMS 2020 RESIDENT PROGRAMS — now with a commuter option Bassoon Camp • May 31–June 3 Clarinet Academy • June 7–10 Flute Workshop • June 14–18 Saxophone Camp • June 21–24 Bass Camp • June 28–July 1 Ohio State Marching Band Summer Clinic • July 10–12

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Register online at music.osu.edu/outreach

Morning String Student Workshop • June 15–26 Middle School Concert Band Academy • June 21–26 this year, held at Gahanna Lincoln High School

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CORPORATE INSTITUTIONAL PARTNERS

LEVEL III - PRESIDENT’S CLUB Bluffton University 1 University Drive, Bluffton, OH 45817 battlec@bluffton.edu www.bluffton.edu/music

Noteworthy Tours, Inc. 231 West Washington Row, Sandusky, OH 44871 travel@noteworthytours.com www.noteworthytours.com

Bob Rogers Travel 3440 Lacrosse Lane, Naperville, IL 60564 info@bobrogerstravel.com www.bobrogerstravel.com

Ohio State University School of Music, The 110 Weigel Hall, 1866 College Road Columbus, OH 43210 morris.1006@osu.edu music.osu.edu

Bowling Green State University College of Musical Arts/Moore Musical Arts Center Bowling Green, OH 43403-0292 mullinw@bgsu.edu www.bgsu.edu/music

QuaverMusic.com 1706 Grand Avenue, Nashville, TN 37212 johna@quavermusic.com http://www.QuaverMusic.com

Buddy Roger’s Music 6891 Simpson Avenue, Cincinnati, OH 45239 bill@buddyrogers.com www.buddyrogers.com

Rettig Music, Inc. 510 Clinton St., Defiance, OH 43512 cindy@rettigmusic.com www.rettigmusic.com

C.A. House Music 52335 National Rd. E, St. Clairesville, OH 43950 melissac@cahousemusic.com www.cahousemusic.com

Royalton Music Center 10167 Royalton Rd. Unit A North Royalton, OH 44133 l.amanfoh@royaltonmusic.com www.royaltonmusic.com

Conn-Selmer P.O. Box 310, Elkhart, IN 46515 srichards@conn-selmer.com www.conn-selmer.com Festivals of Music 1784 West Schulykill Road, Douglassville, PA 19518 rmicco@edprog.com www.festivalsofmusic.com Music & Arts 5295 Westview Drive, Frederick, MD 21703 tracy.katz@musicarts.com www.musicarts.com Music Travel Consultants 5348 W. Vermont St. Suite 200 Indianapolis, IN 46224 jennifer.vierling@musictravel.com www.musictravel.com

Summit Tour & Travel, Inc. P.O. Box 682240, Orlando, FL 2868-2240 kim@summittourtravel.com http://www.summittourtravel.com Super Holiday Tours 116 Gatlin Ave., Orlando, FL 32806 hskiver@superholiday.com www.superholiday.com Yamaha Corporation of America 6600 Orangethorpe Avenue Buena Park, CA 90620 hhugues@yamaha.com www.usa.yamaha.com

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CORPORATE INSTITUTIONAL PARTNERS

LEVEL II - OMEA PATRON

Akron, The University of

School of Music, Guzzetta Hall 260 Akron, OH 44325-1002 ausher@uakron.edu www.uakron.edu/music

Ashland University

Music is Elementary, Inc

5220 Mayfield Road, Cleveland, OH 44124 rguzzo@musiciselementary.com http://www.musiciselementary.com

Muskingum University

401 College Avenue, Ashland, OH 44805 treed@ashland.edu www.ashland.edu/music

10 College Drive, P.O. Box 1837 New Concord, OH 43762 music@muskingum.edu www.muskingum.edu/dept/music

Capital University Conservatory of Music

Ohio Northern University

Case Western Reserve University

Ohio Wesleyan University

One College & Main, Columbus, OH 43209 tzugger@capital.edu http://www.capital.edu/Conservatory/

10900 Euclid Avenue, Cleveland, OH 44106 laura.stauffer@case.edu http://music.case.edu

Cleveland State University

2121 Euclid Avenue MU332, Cleveland, OH 44115 m.c.bill@csuohio.edu www.csuohio.edu/class/music

Educational Tours, Inc. P.O. Box 257, Holt, MI 48842 sonia@tours-eti.com www.tours-eti.com

Kent State University

1325 Theatre Drive, Kent, OH 44242 apaa@kent.edu www.kent.edu/music

Marietta College

215 Fifth Street, Marietta, OH 45750 arf005@marietta.edu www.marietta.edu/music-department

Miami University

501 S. Patterson Ave, 109 Presser Hall, Oxford, OH 45056 music@miamioh.edu

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525 South Main Street, Ada, OH 45810 t-lenzo@onu.edu www.onu.edu/music 61 S. Sandusky Street/Music Department Delaware, OH 43015 rdedward@owu.edu music.owu.edu

Otterbein University

1 South Grove Street, Westerville, OH 43081 ddavenport@otterbein.edu/cbrock@otterbein.edu www.otterbein.edu/music

University of Dayton

300 College Park, Dayton, OH 45469-0290 ksolarek1@udayton.edu

https://www.udayton.edu/artssciences/academics/music/index.php

West Music

1212 Fifth Street, Coralville, IA 52241 smarchuk@westmusic.com www.westmusic.com

Youngstown State University Dana School of Music

One University Plaza, Youngstown, OH 44555 cjsarnowski@ysu.edu http://www.ysu.edu/dana

School of Music

Congratulations to Frank Cosenza recipient of the 2020 Distinguished Music Education Alumni Award.

Cosenza (MM 1987) is retired from West Geauga High School in Chesterland where he was a four-time recipient of the Excellence in Education Award, and was the 2006 recipient of the Distinguished Service Award for OMEA District VII.

COMING THIS SUMMER: Brass Performance Seminar Concert

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Bachelor of Arts in Music (B.A. in Music) Master of Music (M.M.) The University of Akron School of Music The University of Akron

Buchtel College of Arts and Sciences

Dr. Marc Reed, Director 330-972-7590 music@uakron.edu www.uakron.edu/music

The University of Akron is an Equal Education and Employment Institution www.uakron.edu/eeo ©2020 The University of Akron

Brass Performance Seminar Monday - Friday, June 1 - 5 Guzzetta Hall For students entering 9th grade through first year of college.

$275 commuter. Additional $225 for housing and meals for ovenight campers.

Call 330-972-6641 or blahacj@uakron.edu for more information.

Saxophone Camp Monday - Friday, June 1 - 5 Guzzetta Hall For students entering 9th grade through first year of college.

$175 commuter. Additional $225 for housing and meals for ovenight campers.

Call 330-972-6622 or tgaffke@uakron.edu for more information.

Summer Symphonic Band Tues. and Thurs., 7-9 p.m.

June 9 - July 9 Concert Thursday, July 9, 7:30 p.m.

Guzzetta Recital Hall One graduate or undergraduate credit.

Conducted by Dr. Galen Karriker and Dr. Andrew Feyes. Call 330-972-7590 for details and information on how to register.

CORPORATE INSTITUTIONAL PARTNERS

LEVEL I - OMEA SPONSOR

Baldwin Wallace University

Ohio University School of Music

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College of Wooster

Soundwaves Recording

Scheide Music Center Wooster, OH 44691 lwong@wooster.edu www.wooster.edu/departments/music/

Heidelberg University School of Music & Theatre 310 East Market Street Tiffin, OH 44883-2462 ppage@heidelberg.edu www.heidelberg.edu

J.W. Pepper

6330 E. 75th St. Suite 122 Indianapolis, IN 46250 jyehling@jwpepper.com www.jwpepper.com

Malone University

2600 Cleveland Ave. NW Canton, OH 44709 mhaines@malone.edu www.malone.edu/music

4708 Surfside Drive, Huron, OH 44839 dan@soundwaves.org www.soundwaves.org

University of Cincinnati P.O. Box 210003 Cincinnati, OH 45221-0003 curt.whitacre@uc.edu http://www.ccm.uc.edu

University of Mount Union 1972 Clark Avenue Alliance, OH 44601 miskeljp@mountunion.edu www.mountunion.edu/music

University of Toledo

2801 W. Bancroft St. MS605 Toledo, OH 43606 Jason.Stumbo@utoledo.edu www.utoledo.edu/al/svpa/music

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2020 OMEA PDC PHOTO RECAPS JANUARY 30 - FEBRUARY 1, 2020 - CINCINNATI, OHIO

• 25-YEAR AWARD RECIPIENTS • DISTINGUISHED SERVICE AWARD • OUTSTANDING YOUNG MUSIC EDUCATOR AWARD • OUTSTANDING ADMINISTRATOR AWARD • OUTSTANDING MUSIC SUPPORT GROUP AWARD • INDUSTRY SERVICE AWARD • ALL-STATE ENSEMBLE CONDUCTORS FOR GENERAL INFORMATION ABOUT CANCELLATIONS, ADJUDICATED EVENT INFORMATION AND ALL-STATE UPDATES, PLEASE CHECK THE HOMEPAGE OF THE OMEA WEBSITE: WWW.OMEA-OHIO.ORG FOR LINKS TO THE APPLICATION PORTAL FOR SESSION PROPOSALS AND PERFORMING ENSEMBLES, PLEASE VISIT THE OMEA WEBSITE: WWW.OMEA-OHIO.ORG FOR SPECIFIC INFORMATION ABOUT THE CONFERENCE, INCLUDING CLINICIAN SPOTLIGHTS, ACCEPTED ENSEMBLES, AND GRADUATE CREDIT/CONTACT-HOUR OPTIONS, PLEASE VISIT THE OMEA PDC WEBSITE: WWW.OMEAPDC.COM

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ROB FALVO - CAROLL

25 Years Bloom Caroll – Director of Bands Most Memorable Moment - When students, beyond high school and on any level, continue the joy of music-making.

DANI KAKASCIK CAROLL - RICHMOND 25 Years Edison High School/ Jr. High – Vocal Music Director Most Memorable Moment - Seeing one of my quietest and severely depressed student’s eyes light up as he watched The Man of La Mancha from the second row on Broadway.

His smile went ear to ear.

JENNIFER L. GILLESPIE - FAIRBORN 35 Years Fairborn Intermediate – Vocal Music Teacher Most Memorable Moment - Glee Give A Note award winner in 2010. I was awarded $10,000 for my elementary music program at Fairborn Intermediate School. I created the required video, and went through the crazy ordeal of continual votes needed each day to show support of the music program. I provide for my music students each year. My principal surprised me with the award by writing the entire student body, staff, and family of 700 people when gathered to share in my excitement. I was the most amazing moment of my career.

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PATRICK MURPHY - ZANESVILLE

25 Years Maysville Schools – Band Director Most Memorable Moment - It might be easy to say having my own children in band or ex-students go to become band directors in area schools. But truly I enjoy the “ah-ha” moments. A 5th grader play their first note, a high schooler having “that performance,” or even that clarinet player “playing the sunset.”

25-YEAR AWARD RECIPIENTS

Listed here are the 2020 twenty-five year or more award recipients, their present assignments (or last assignment if retired), and their most memorable moment from their many years of teaching. We salute these twenty-five year or more educators for their outstanding service to students, communities, and OMEA.

STEVE PARKS - TIPP CITY

MICHAEL SUMMERS - YOUNGSTOWN

MELISSA SMITH - KENT

AMY WHITEHILL - FAIRBORN

27 Years Tipp City Exempted Village Schools Band Director Most Memorable Moment - Watching former students go into the music education field.

25 Years Stanton Middle - 6-8 Choir/General Music Most Memorable Moment - When students write me letters about how my class influenced them.

30 Years Liberty Local – Director of Bands 5-12 Most Memorable Moment - Having a student publish a book with a chapter about his time in band.

27 Years Fairborn HS/ Baker MS – Orchestra Director Most Memorable Moment - Daily interactions with my students and our end of the year concert when I honor my students whom I’ve taught for 8 years and they honor me with memories made throughout those years.

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2020 OM Distinguished S

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MEA PDC Service Award Susan M. Bass Mason City Schools Band Director Mason, Ohio

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2020 OMEA PD Young Music Ed

C Pre

C

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DC Outstanding ducator Award

Cody McPherson ble-Shawnee Local Schools General Music Teacher

Camden & West Elkton, Ohio

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2020 OM Outstanding Adm

S

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MEA PDC ministrator Award Thomas Yazvac

Springfield Local Schools Superintendent New Middletown, Ohio

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2020 OMEA PD Music Support

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DC Outstanding Group Award Rock Hill Band Boosters Rock Hill Local Schools Ironton, Ohio

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2020 OM Industry Ser

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MEA PDC rvice Award

Since 1947

Since 1947

Cindy & Tim Rettig

Ohio’s Leader in Educational Musi • Band & String Rent-to-Own Plans • Expert Woodwind, Brass, String &

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OHIO NORTHERN UNIVERSITY

DEPARTMENT OF MUSIC Fully accredited by the National Association of Schools of Music

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din WWW.ONU.EDU Sta Ex g o /MUSIC te- ce rche of- pti the on stra, -ar ally win tf ac acco d, ch ilit m ies pli oral • G she and en d a ero nd pian us de o pr sc dic og ho a lar ted rams sh ips facu lty

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Offering the following degree programs: • Bachelor of Music in Music Education • Bachelor of Arts in Music with concentrations in Sound Recording & Technology, Music Theory & Composition, Music History & Literature, or Applied Studies • Music Minor • Outstanding opportunities for double majors

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2020 ALL-STATE CHILDREN’S CHORUS GUEST CONDUCTOR ROGER SAMS

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Did your instrument get: • dropped from the bleachers • hit by a flying baton, flag, or football • damaged but you don’t know how • stepped on

t e g t i • or did your y b n e t a e dog?

WE SPECIALIZE IN PROJECTS THAT MANY REPAIR SHOPS TURN DOWN • tenon replacement • bar percussion tuning and custom stands • drum recovering • woodwind key manufacturing • instrument modifying for musicians with special needs • overhauls • fabrication

BRING IT TO THE PROFESSIONALS

musicians repair service (70 years experience)

“we work so you can play” www.MRSAkronOhio.com

(330) 633-3631

2020 ALL-STATE ORCHESTRA GUEST CONDUCTOR WILLIAM LARUE JONES

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3 Reasons to Switch to

1. ALL of Book 1 is FREE in SmartMusic SmartMusic includes free practice tools, assessments, accompaniments, and red/green note feedback for you and your students.

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3. Ensemble Development Critical listening skills can be taught from the very beginning with hundreds of exercises and chorales grouped by key.

Need more reasons to switch?

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2020 ALL-STATE BAND GUEST CONDUCTOR MARK SCATTERDAY

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Stanton’s Sheet Music 330 S. 4th St. Columbus OH 43215

Our great service is inspired by the high standard for music education we share with our customers.

10% Qualify for our Director Discount Use a PO or Booster Account Give us a call to get started 1-800-426-8742

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Thank you for all of the love and support over the last 60 years.

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2020 ALL-STATE JAZZ BAND GUEST CONDUCTOR BILL WARFIELD

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MUSIC

Malone University

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EnsEmblEs

University Chorale, Chamber Choir, Women’s Concert Choir, Men’s Glee Club, Malone Opera Theatre, Symphonic Band, Marching Band, Jazz Ensemble, Piano Ensemble, Flute Ensemble, Percussion Ensemble, Woodwind Ensemble, Strings Ensemble, Commercial Recording and Performance Ensemble, Music Ministry Experience PROGRAms

B.A. in General Music B.A. in Music Ministry

B.S. in Music Education Certificate in Piano Pedagogy

B.A. in Music Production Certificate in Voice Pedagogy

AUDITIOn DATEs

See a schedule at www.malone.edu/music. sCHOlARsHIPs

Scholarships are available for majors and non-majors.

Malone University is an accredited institutional member of the National Association of Schools of Music.

Canton, Ohio | 330.471.8231 | www.malone.edu/music

N H S I N GI G SIG T

pieces for sight-singing contest positions EA M O al tu ac e th se Now you can purcha d by Dr. C. M. Shearer. These quality com OMEA se po m co nforms to r, 2000 and late practice. The music co pieces are truly g in ild bu illsk ive ns te more, these are perfect for in and skill levels. What’s ances. p, ou gr e, ag r fo es in rform guidel be used for concer t pe musical and can even l measure opriate and include al complete pr ap e iag rb ve d an , here for a Texts are age, meter kings. Ever ything is ar m with n sio es pr ex d to a first-division rating ts numbers an en ud st ur yo ke Ta rience. musical learning expe positions available! m co the finest practice est music oral sight-reading cont ch n tio cia so As n io at The Ohio Music Educ m ailable for purchase fro for 2000 and later is av CMS PUBLICATIONS

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2020 ALL-STATE CHOIR GUEST CONDUCTOR ANDRÉ THOMAS

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PUBLICATION SCHEDULE

TRIAD ISSUE October/November 2019 December ‘19/January ‘20 April/May 2020

*Copy must be in the hands of the editor on schedule.

DEADLINE DATE* August 5, 2019 October 1, 2019 February 10, 2020

POSTING DATE** October 7, 2019 December 2, 2019 April 6, 2020

*Deadline Date: The date material must be received by the editor to ensure publication. **Posting date: The date TRIAD is scheduled to be posted online.

EDITOR: Terri Brown Lenzo • editor_of_triad@omea-ohio.org DESIGN/PRODUCTION: Amy Annico • 440-941-4269 • media_director@omea-ohio.org ADVERTISING: Bill Wittman • 740-975-3753 • business_director@omea-ohio.org

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University................................................................................................................................................................................................. 44 CMS Publications.....................................................................................................................................................................................................................................................................................84 Contributions to Music Education......................................................................................................................................................................................................................................................13 College of Wooster......................................................................................................................................................................................................................... 45 Heidelberg University School of Music & Theatre...................................................................................................................................................................... 21 Kent State University....................................................................................................................................................................................................................... 16 Malone University.............................................................................................................................................................................................................................84 Marietta 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Noteworthy Tours, Inc.....................................................................................................................................................................................................................53 Ohio Arts Council....................................................................................................................................................................................................................................................................................... 1 Ohio Northern University.................................................................................................................................................................................................................76 Ohio State University School of Music, The................................................................................................................................................................................56 Ohio State University String Teacher Workshop, The................................................................................................................................................................................................................21 Otterbein University.........................................................................................................................................................................................................................20 Rettig Music, Inc............................................................................................................................................................................................................................. IFC Royalton Music Center...................................................................................................................................................................................................................... 31 Solich Piano...............................................................................................................................................................................................................................................................................................56 Stanton’s Sheet Music............................................................................................................................................................................................................................................................................ 82 Summit Tour & Travel, Inc..............................................................................................................................................................................................................59 University of Dayton........................................................................................................................................................................................................................35 University of Mount Union.............................................................................................................................................................................................................. 49 Yamaha Corporation of America..................................................................................................................................................................................................IBC * Bold signifies a Corporate/Institutional Partner

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