TRIAD - FALL 2013

The Official Publication of the Ohio Music Education Association

October/November 2013 Vol. LXXXI, No. 1

*Photos courtesy of Dynasty

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OMEA is an Affiliate of

From the Desk of...

36 Teaching Tips 49 Music Masterclass 62 News & Committee Reports 95 Professional Development Upcoming Events 18 2014 OMEA Professional

Development Conference

Find OMEA on Social Media!

800.336.3768 www.nafme.org

Allied Organizations: Ohio Alliance for Arts Education www.oaae.net Ohio Arts Council www.oac.state.oh.us Ohio Choral Directors Association www.ohiocda.org Ohio String Teachers Association www.ohiostringteachers.org Jazz Education Connection of Ohio www.jecohio.org

TABLE OF CONTENTS From the Desk of...

6 Editor of TRIAD - Matthew Warner

8

OMEA President - Patricia Meeks

Teaching Tips 36 The Purpose-Led Band: A Personal Viewpoint on How

40

45

to Provide Our Students the Best Musical Experience Possible - Dr. Jesse Leyva Structures for Improvisation in Early Elementary General Music - Roger Sams Into Intonation: Guidelines for Singing in Tune - Dr. Gayle Walker

Music Masterclass 49 Woodwind - Do Your Students Know HOW to

54

56

59

Practice? - Dr. Shelley Jagow Brass - Slurring on Trombone: Confusion over Terminology and Markings for Trombonists - Dr. Gretchen McNamara Strings - Mastering Bow Distribution and Utilizing the Entire Bow is Vital for Student Progress! - Dr. Brenda S. Mitchell Voice - The Vocal Athlete’s Beginning Warm-Up - Dr. Jay White

News & Committee Reports 62 Adjudicated Events

75 82 84 86 87 89 90 92

Higher Education News In Memoriam Jazz Education Connection of Ohio Music In Our Schools Month Ohio Alliance for Arts Education Ohio Collegiate Music Education Association Ohio Foundation for Music Education Ohio Society for Music Teacher Education

Professional Development & Assessment 95 Workshops, continuing education, camps, etc.

96

100

105

5 12 108 110 112 112

Recent Themes in Teacher Evaluation - Doug Orzolek OMEA 2013 Professional Development Conference Poster Presentation Summaries - Jonathan Saeger Vernacular Music Instruction: Implications for Music Education - David Scalise

EDITOR Matthew Warner

937.570.0927

editor_of_triad@omea-ohio.org

DESIGN/PRODUCTION Amy Annico Director of Media and Publications

210.570.OMEA

media_director@omea-ohio.org

ADVERTISING David N. Adamson Director of Business Advertising/Exhibits

440.552.6983

business_manager@omea-ohio.org ONLINE PUBLISHING WRL Advertising 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.omeaohio.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.

Information Network Corporate/Industry Partners OFME Music Education Donor Form OFME Donors TRIAD Information Advertising Index

OCTOBER/NOVEMBER 2013

3

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INFORMATION NETWORK OMEA OFFICE P.O. BOX 1067 Massillon, OH 44648 330.833.5677 - Office 330.833.4774 - Fax www.omea-ohio.org Roger A. Hall Executive Director 330.833.5677-O executive_director@omea-ohio.org David N. Adamson Director of Business 440.552.6983-O business_manager@omea-ohio.org Mark A. Hensler Director of Professional Development 513.240.1572-O pd_director@omea-ohio.org Amy L. Annico Director of Media & Publications 210.570.6632-O media_director@omea-ohio.org Gregory S. Taylor Director of Technology 614.395.5016-O technology_director@omea-ohio.org Max Treier Adjudications Coordinator 740.584.1940-O adjudications_coordinator@omea-ohio.org John Purdy Adjudicated Events Vendor 937.339.7360-O ae_vendor@omea-ohio.org

OMEA TRUSTEES Patricia Meeks President president@omea-ohio.org

OCMEA OFFICERS Emma Burger OCMEA President ocmea_president@omea-ohio.org

Terry Herschman President-Elect president_elect@omea-ohio.org

John Barrett OCMEA President-Elect ocmea_president_elect@omea-ohio.org

James Dowdy Immediate Past-President past_president@omea-ohio.org

Laura Horcher OCMEA Secretary ocmea_secretary@omea-ohio.org

John Veneskey Secretary secretary@omea-ohio.org

Justin Caithaml OCMEA Editor ocmea_editor@omea-ohio.org

Matthew Warner Editor of TRIAD editor_of_triad@omea-ohio.org

Patrick Specht OCMEA Treasurer ocmea_treasurer@omea-ohio.org

Richard Eakin Treasurer treasurer@omea-ohio.org 2013-2014 TRIAD EDITORIAL BOARD Matthew Warner Melissa Stamm Editor of TRIAD Teacher Evaluation Cincinnati Hills Centerville City Schools Christian Academy James W. Tipps Shelley Jagow Teacher Education Immediate Past Editor of TRIAD Wright State University Wright State University Jason Smith Amy Annico Brass OMEA Director of Media Ohio University and Publications Bill Jobert Scott A. Jones Woodwinds Band Wright State University The Ohio State University JulieAnn M. Bernard Amy Beegle Strings General Music Centerville City Schools University of Cincinnati-CCM James Leslie Jackson Leung Percussion Orchestra University of Dayton Wright State University David Tovey Bill Burns Multiculturalism Jazz The Ohio State University Centerville City Schools Brian Laasko Technology McKinley High School

OCTOBER/NOVEMBER 2013

5

I’ve been contemplating the theme for our upcoming professional development conference: “Building the Future.” It occurs to me that when we talk about the future of music education we often mean the “what” and the “how.” What will be expected of music educators? What challenges might we face, and how might we meet them? What new opportunities might exist through new technologies, ideas, policies, or attitudes, and how might we seize upon them? What should we anticipate and how can we be ready for it?

These are important questions that deserve our attention, but what about the “who” of building the future? Whose future are we building? Who decides what that will look like? Who will implement positive changes to build that future, and who might present resistance to those changes? Who will be our leaders?

To whom will we listen, turn for guidance, or seek to benefit?

I think these are important questions precisely because music education is not just a what or a how, but a who. It is much more than repertoire and pedagogy; it is also students, teachers, parents, communities, policymakers, and a host of other stakeholders, beneficiaries, and interest groups. Depending on whose future you are building, you might come up with very different whats and hows about “building 6

the future.”

With that in mind, I offer a few thoughts about whose future we are building as music educators with this challenging proposal: Building the future of music education involves YOU. NOW. Why? • You are one who is teaching, training, and/or mentoring future teachers. For some of you these future teachers are the students in your general music class, orchestra, or private studio. For others it means the music education majors in your university courses and studios. For some it also means the student teachers for whom you are a cooperating teacher or supervisor, or for younger teachers who look to you for encouragement and guidance.

For still others it is their classmates in music education undergraduate or graduate programs.

Teacher training is not limited to college programs; all music educators should consider themselves, in part, to be building future music educators.

• You are the one who is shaping attitudes, beliefs, and understanding about music and music education. You are doing this with the kinds of experiences you are giving students, the interactions you TRIAD

have with their parents and the community, and the professional dialogues in which you participate. Music educators are ambassadors, experts, and advocates for music in life, not just in school.

• The future is built in the present. By virtue of currently being music educator, music education student, or retired teacher, you are contributing somehow to the future of music education whether you are conscious of it or not. Secretary of State William Jennings Bryan (1860-1925) said, “Destiny is no matter of chance. It is a matter of choice.

It is not a thing to be waited for, it is a thing to be achieved.” Everything we do now, no matter how small, has future implications.

certain: right now the future belongs to us, because we have the power to shape it. I hope you will join us at the 2014 OMEA Professional Development Conference with that in mind, and that you will be proactive in thinking about the future of music education and your role in building it.

Matthew Warner is Middle School Band Director at Cincinnati Hills Christian Academy (Cincinnati, OH).

He has also served on the faculty of Evangel University (Springfield, MO), Southwest Baptist University (Bolivar, MO), and Wright State University (Dayton, OH), and Greenon Local Schools (Enon, OH). He is a candidate for the Doctor of Musical Arts in Music Education at Boston University (Boston, MA).

We can speculate about the whats, hows, and whos of the future of music education, but one thing is for

OCTOBER/NOVEMBER 2013

7

We see and hear it on TV, computers, tablets, phones “more is better, more is better.” It’s repeated by children in a nationally recognized commercial, and has become a mantra for this generation of students. Our students come to us with more resources than many of us could have imagined in our younger days of teaching. They can access knowledge at their fingertips at any moment in the day, as well as check our content while we are teaching! Please understand that I, too, love the ability to communicate easily and expand my resources as a teacher using technology, and yet I start this year off reminding myself that the genuine experiences our students yearn for have very little to do with their latest piece of technology.

I’m reminded of one of my favorite lines from the book Tuesdays with Morrie: “Sometimes you cannot believe what you see, you have to believe what you feel” (p.61). The process of making music—creating the personal and intimate feelings that occur when musicians of any age share the sounds of the printed page—is still why we remain captivated by the art of teaching. Technology has enhanced our daily lives, but I’m hopeful we remain true to our art form and champion the cognitive and creative learning processes each day. Students may appear to accept materialistic substitutes short-term, but there will never be a long-term substitute for authentic music educa8

tion. Students count on us to give them ways to be expressive in an educational climate that often only wants to hear from them with a #2-penciled bubble on a page. We cannot miss this opportunity to come together as music teachers to build safe environments for children to share their instinctive need to express themselves and be accepted for their unique musical contributions.

This summer, Terry Herschman and I attended the NAfME National Assembly in Tyson’s Corner, VA. NAfME President and Ohio native Dr. Nancy Ditmer focused her speeches on building a stronger sense of family between our state MEAs and the national organization. I think this family approach needs to be continued here at home. The synergy that occurred during our summer OMEA OTES training sessions gave us a glimpse into what can occur when music teachers from every genre assemble to collaborate and learn. When I stepped out of my “band world” and into the world of teaching music I became a better teacher, a better advocate for music education, and I increased my circle of support! Belonging to the OMEA family shouldn’t just be about the state conference or AE but rather a community you can lean on when needed (let’s be honest…we all have those days). I am humbled to begin my second year as president and I promise you the OMEA Trustees and Staff TRIAD

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remain committed to increasing resources to support you as a music teacher, and we will keep pedaling the bicycle of progress.

This summer was a busy one behind the scenes of OMEA and two very important steps were taken to move our organization forward. The position of Director of Media and Publications (formerly MMIS) was redesigned to better meet the needs of our organization. I am convinced newly hired staff member Amy Annico is a perfect fit for this position. Amy started work July 1 to increase our social media presence, update our website, as well as prepare for this issue of TRIAD. You can read more about Amy on the OMEA website. Our next big step forward was to hire Mark Hensler as the Director of Professional Development. Mark brings a career’s worth of experience to the team and you will begin to see his work as we move toward enhanced future PD opportunities for OMEA. Both of these positions are part-time, but I remain confident that they will have a full impact on services offered to members.

I want to offer my sincere appreciation to the OMEA Staff (Roger Hall, Executive Director; David Adamson, Director of Business; Greg Taylor, Director of Technology; Max Treier, Adjudications Coordinator; John Purdy, OMEA Vendor and newly hired staff Amy and Mark) for their outstanding work and dedication to make OMEA the top MEA in the country!

Welcome aboard to our new OMEA State Secretary John Veneskey and TRIAD Editor Matthew Warner!

Thank you Terry Herschman, President-Elect; James Dowdy, Past-President; and Rick Eakin, State Treasurer for your service this past year. I’m proud to serve with such devoted colleagues.

We have a job to do, we have a position to cherish, and we have the opportunity to be teachers who influence and affect the lives of children in a positive manner. Let’s count our blessings and remember to advance music education by encouraging the study and making of music by all. One day and one student at a time, let the music begin!

Sincerely,

Pat OCTOBER/NOVEMBER 2013

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Practice Audition Day • for High School Seniors Friday, October 18, 2013

High School Honor Band Weekend Friday, January 17 - Sunday, January 19, 2014 Online Application Deadline: Friday, November 1 at midnight

Middle School Honor Band Festival Saturday, February 15, 2014 Online Nomination Deadline: Wednesday, January 8 at midnight

Junior Visit Day • for High School Juniors Friday, March 28, 2014

Audition Days • for the 2014 - 15 Academic Year Wednesday, December 4, 2013 Friday, January 17, 2014 Saturday, January 25, 2014 Saturday, February 1, 2014

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OCTOBER/NOVEMBER 2013

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2014 OHIO MUSIC EDUCATION ASSOCIATION

2014 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE

THE

OF

MUSIC EDUCATION

AN INVITATION FROM THE CO-CHAIRS 2014 OMEA Professional Development Conference

You are cordially invited to join us February 6th-8th in Columbus for the 2014 Professional Development Conference. The theme is Building The Future of Music Education.

The 2014 Conference Committee has selected a wonderfully diverse program of concerts and presentations designed to further your professional growth, provide increased inspiration and rekindle a renewal for teaching students music. This year’s Conference will feature a creative variation on the “First Night” concept in that “home-grown” Ohio talent will be shared in the four specialized genres of band, choir, jazz and orchestra. These onehour concerts are scheduled so as to encourage ample dinner and social time upon their conclusion. This new structure will also afford our All-Staters the opportunity to join us in attending these quality presentations.

Please mark your calendars, plan to be with us and prepare to be re-energized in our State Capital this coming February. You are encouraged to visit the OMEA website for more information abut the Conference, view opportunities for participation in the High Quality Professional Development Pre-Conference and explore registration and housing links.

We look forward to seeing you at this exciting event!

Jeffrey D. Shellhammer Conference Co-Chair

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Rodney Tolliver Conference Co-Chair

TRIAD

2014 OHIO MUSIC EDUCATION ASSOCIATION

2014 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE

THE

OF

MUSIC EDUCATION

2014 CONFERENCE COMMITTEE 2014 OMEA Professional Development Conference

Jeffrey D. Shellhammer

Rodney Tolliver

Conference Co-Chair

Meg Beavers

Conference Co-Chair

All-State Co-Chair

Jill Murrell

General Music

Todd Lacy

Ben Factor

Sharon Davis Gratto

Dale Nawrocki

Amanda Blevins

Jeremy Bradstreet

Birch Browning

Catherine Lewis

Kay Edwards

Lalene Dyshere Kay

Amy Blosser

Marshall Kimball

Justin Riley

Catherine Buchholz

Brian Nitschke

All-State Co-Chair

Advocacy

Band

Choral

Curriculum and Assessment

OCTOBER/NOVEMBER 2013

Higher Education

Jazz

Multicultural

OCMEA

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Research

Special Learners

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PRE-REGISTRATION FORM 2014 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE February 6, 7, 8, 2014, Columbus, Ohio • Columbus Convention Center

2014 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE

To Pre-Register: 1) Read and complete all sections of this form. (Use one form for each registrant).

2) Enclose Personal Check/Money Order or School Check (not purchase order copy) payable to OMEA. NO PURCHASE ORDERS WILL BE ACCEPTED. Registrations will be returned if school check does not accompany this form.

3) Send to: OMEA Conference Pre-Registration, P.O. Box 1067, Massillon, OH 44648 • Mail-in PRE-REGISTRATION must be postmarked by January 17, 2014. Postmarks after this date will not be accepted.

• Online pre-registration will be available until January 24, 2014.

• All refund requests must be made in writing; refunds after January 17, 2014 will be assessed a $15.00 processing fee.

• NO REFUNDS after January 31, 2014.

4) To pre-register online and pay fee via credit card, go to www.omea-ohio.org and follow website instructions.

Do not use this form to pay via credit card. Submit the form on the website electronically.

5) Pre-registrants will receive your badge and confirmation prior to the conference. If you have not received your materials by February 1, 2014, contact executive_director@omea-ohio.org

VERY IMPORTANT — PLEASE READ! Attendance Verification No certificate or proof of attendance will be available to attendees without participation in the High Quality Professional Development Pre-Conference on Thursday, February 6, 2014. (Check box below). Update your Individual Professional Development Plan to include the OMEA HQPD Pre-Conference and submit the plan along with the brochure (see website or Oct/Nov TRIAD) to your Local Professional Development Committee for approval PRIOR to attending the OMEA conference. All requests for proof of attendance after the HQPD Pre-Conference (February 6, 2014) will be denied.

Please Print Clearly (Name will appear on badge) First Name  Last Name   Check if you will attend the High Quality Professional Development Pre-Conference. The Pre-Conference is only available to those who pre-register for the conference. (This is not for college credit—only HQPD credit.) No charge.

Check Pre-Registration Categories That Apply: (Category/School/Business will appear on badge)  OMEA Member: _________________________________________________________ Pre-registration $110

$____________

 OCMEA Member: ________________________________________________________ Pre-registration $40

$____________

(List School/District/Business Name)

(On-Site Registration $125)

(List College/University Where You Are A Member of OCMEA)

(On-Site Registration $50)

 Retired OMEA Member ___________________________________________________ (No Charge) If Retired Member’s Spouse’s badge is requested – Name: _____________________________________________ (No charge for spouse)

 Saturday Only: __________________________________________________________ Pre-registration $50 (List School or District Name)

 Non-Member: ___________________________________________________________ Pre-registration $225 (List School/District/Business Name)

$____________

(On-Site Registration $60)

$____________

(On-Site Registration $250)

 Non-Teaching Family of Above Registrant*: (List names) ______________________________ Pre-registration # x $40

$____________

Requesting Badges for these family members: _______________________________________________________________________ (On-Site Registration $50)

*Note: This option is available to non-teaching spouses, relatives, or children of OMEA members.

It is not available to OMEA members or teachers under contract to teach music in the State of Ohio.

A CHECK PAYABLE TO OMEA MUST ACCOMPANY THIS FORM. NO PURCHASE ORDERS ACCEPTED. Check all that apply. (Teaching areas will appear on badge)  Elementary  Middle School/Junior High  High School  College Faculty  College Student  Choral  Jazz

 Band  Theory

 Orchestra  Department Head/Supervisor

 General Music  Piano/Keyboard

ALL INFORMATION BELOW IS REQUIRED. BADGES WILL BE MAILED USING THIS ADDRESS.

  City  State  Zip  Home Phone:  -  -  School Phone:  -  -  Email Address  OMEA/NAfME Member’s Card # (back of NAfME card )  Expiration Date  /  Home Address

2014 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE

SELEC TED PERFORMING ENSEMBLES Choir

Anthony Wayne H.S. Symphonic Winds Capital University Junior Winds Green M.S. 8th Grade Band Grove City H.S. Symphonic Band Lakota East H.S. Symphonic Winds Miami University Wind Ensemble The Ohio State University Symphonic Band Ohio University Wind Symphony Patriots Community Band Pleasant Run M.S. Band

Jazz

2014 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE

Band

Capital University Chapel Choir Capital University “The Chordsmen” Centerville H. S. “Forte” Dempsey M.S. Singers Dublin Jerome H.S. Chorale Kettering Fairmont H.S. Symphonic Chorale New World Singers (Columbus) Rutherford B. Hayes Symphonic Choir Woodmore H.S. Symphonic Chorale The Wooster Chorus

Orchestra

Boardman H.S. Jazz Ensemble 1 Baldwin Wallace Symphony Orchestra Cedarville University Jazz Band Dayton Philharmonic Youth Orchestra I-75 Ensemble Dublin Jerome H.S. Chamber Orchestra Loveland M.S. Stage Band Nagel M.S. Symphony Orchestra Nordonia Middle School 8th Grade Jazz Band Shaker Heights H.S. Chamber Orchestra University of Dayton Jazz Ensemble Strongsville H.S. Chamber Strings Twinsburg H.S. Orchestra

Small Ensembles

Kent State University Black Squirrel Winds Lancaster H.S. Percussion Ensemble The Ohio State University Percussion Ensemble University of Dayton Percussion Ensemble Wright State University Faculty String Quartet Wright State University Saxophone Quartet

OCTOBER/NOVEMBER 2013

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HOUSING FORM 2014 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE February 6, 7, 8, 2014, Columbus, Ohio • Columbus Convention Center

2014 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE

Please Note: DO NOT send this form to the address for conference pre-registration.

Reservations can be made by choosing ONE of the following options:

HOTEL RATES Hotel

Single

Double

Triple

Quad

All reservations require a credit card. No checks will be accepted. Credit cards expiring 02/14 and earlier are not valid and will not be processed.

Hyatt Regency

$169.00

$179.00

$189.00

$199.00

1.) INTERNET: www.omea-ohio.org Do not mail and/or fax after submitting online.

Crowne Plaza

$164.00

$174.00

$184.00

$194.00

Hilton

$164.00

$164.00

$174.00

$184.00

Drury Inn - Standard

$131.00

$131.00

$141.00

$141.00

Drury Inn - Suite

$141.00

$141.00

$151.00

$151.00

Hampton Inn

$147.00

$147.00

$159.00

$159.00

2.) FAX: 614-222-6140 - Do not mail after faxing.

3.) MAIL: Send a completed form (one copy per room) to: OMEA Housing Bureau 277 W. Nationwide Blvd. Ste. 125 Columbus, OH 43215

Deadline for Special Rates is January 14, 2014.

• • • • • •

No telephone reservations will be accepted by the Housing Bureau.

Photocopy this form if more than one room is required.

Only one room may be requested under each name.

Rooms are assigned on a first-come, first-serve basis.

Allow up to two weeks for an acknowledgement.

After January 14, 2014, rooms and rates are based on availability.

Confirm reservation to: (Only one acknowledgement will be sent) Name: ______________________________________________ Address: ____________________________________________________________ City: ________________________________________________ State: _________________ Zip: _________________________ Phone:________________________________________________

Rates quoted above are subject to 16.75% tax (Subject to change).

Hotel Preference: 1. __________________________________________________ 2. __________________________________________________ 3. __________________________________________________ Arrival Date: ________________________________________________________ Departure Date: ______________________________________ List Names of all occupants (List all occupants' arrival and departure dates, if different)

____________________________________________________ ____________________________________________________ ____________________________________________________ ____________________________________________________

Fax: _________________________________________________________________

Room Type Preference*:

Email Address:________________________________________

 Single - (1) guest  Double - (1) bed/2 guests  Double/double - (2) beds/2 guests  Triple - (2) beds/3 guests  Quad - (2) beds/4 guests  Wheelchair accessible

Reservation Deposit: All hotels require a one night room deposit with each reservation.

Requests received without credit card information will not be processed. Please fill out the credit card information entirely.

Credit cards must be valid through February 2014 in order to be considered a proper deposit.

  

American Express Visa Diner’s Club

 

Master Card Discover

Card #  Expir. 

/ 

Name: ______________________________________________________ Signature: ________________________________________

Special Requests* (please list)



Non-Smoking



Other: Please list

____________________________________________________ * Note: Room type preferences and special requests cannot be guaranteed.

Changes/Cancellations Continue to use the OMEA Housing Bureau for all changes/ cancels through January 28, 2014 (4:00 p.m. EST) via internet, fax, or mail. After January 28, 2014, all new reservations, changes, and cancellations must go through the hotel.

Do not contact the hotels directly until after January 28, 2014.

Downtown Columbus 2014 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE

h St N Hig

SHORT NORTH ARTS DISTRICT

The Cap at Union Station Hampton Inn & Suites Spruce St

Hyatt Regency Drury Inn & Suites

Hilton Columbus

Huntington Park

Crowne Plaza Red Roof Inn

The King Arts Complex Lincoln Theatre

Franklin Park Conservatory and Botanical Gardens

Scioto M il e

Ohio Judicial Center

Topiary Park

Columbus Commons

GERMAN VILLAGE S Grant Ave

Schiller Park

Jaeger St

W Whittier St

Mohawk Ave

Scioto Audubon Metro Park

S Third St

© Copyright Experience Columbus

Shadowbox Live

-

OCTOBER/NOVEMBER 2013-

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2014 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE

Are you looking for affordable college credit?

Do you need credit hours to renew your license or improve your salary placement?

Would you like to get credit every year for something you are already doing?

2014 OHIO MUSIC EDUCATION ASSOCIATION

THE

OF

MUSIC EDUCATION

Building the Future of Music Education 2014 could be the answer you’ve been waiting for!

Please read below about an exciting opportunity for OMEA members.

2014 OMEA Professional Development Conference Graduate Credit Option

Earn one (1) semester hour of graduate credit for attending the 2014 OMEA Professional Development Conference in Columbus. This credit option is being offered through Ashland University.

Please visit the OMEA website for a link to Ashland’s online registration system.

Course and online registration information will also be available at the graduate credit booth located in the main registration area at the OMEA PDC.

The cost of this credit option is $199 Requirements:

Observe at least 12 sessions. The 12 must include at least four concerts and six clinics in your major teaching area (elementary, middle school, secondary – vocal, general music, instrumental, etc.), AND two additional clinics or concerts of your choice (may be outside of your area). The new Guidebook app should make scheduling a breeze!

A typed synopsis of each session/concert attended must be submitted no later than two weeks after the conference.

The synopsis should include critical analysis of the value of the session/concert, content, and application to your unique teaching situation. More details will be sent to upon course registration. All work will be submitted via email.

The credit is offered on a S/U basis.

If you have questions, feel free to contact Mark Hensler at (513) 240-1572 or email at pd_director@omea-ohio.org.

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2014 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE

Do you need PROFESSIONAL DEVELOPMENT HOURS in your primary area of teaching?

OHIO MUSIC EDUCATION ASSOCIATION ANNUAL PROFESSIONAL DEVELOPMENT CONFERENCE COLUMBUS, OHIO - FEBRUARY 6, 7, 8, 2014 Attend this High Quality Professional Development Conference and receive a certificate of verification (10 hrs. = 1 CEU).

• Serves as a high quality professional

• Information on standards, integration, and assessment

• Provides information and training on the latest research and trends in music education

• Provides networking opportunities with master teachers, workshop leaders, and music industry professionals

development opportunity

• Refreshes and enhances teaching skills

1. Attend Pre-Conference Session Thursday, February 6, 10:00 a.m.–12:30 p.m.

(Be sure to check the box on the pre-registration form to indicate attendance.)

2. Attend a minimum of 6 specified sessions during the OMEA Conference held Thursday – Saturday, February 6 - 8, 2014.

3. Submit a Post-Conference Reflection by Monday, February 24, 2014

In order to take advantage of this opportunity, you must PRE-REGISTER for the conference.

Be sure to CHECK THE BOX on the Conference Pre-Registration form.

Update your Individual Professional Development Plan to include the OMEA HQPD, and submit the plan along with the brochure (see website) to your Local Professional Development Committee for approval PRIOR to attending this conference. The 2014 HQPD session is ALL NEW and will focus on the revised standards and their implications for assessment.

Print the brochure from the website, share it with your administrator, or attach it to your professional development plan.

OCTOBER/NOVEMBER 2013

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OHIO UNIVERSITY SC H O O L O F M U S I C

2014 Audition Dates Jan. 25, Feb. 15, Feb. 17, Feb. 22, 2014 Study with nationally recognized faculty dedicated to the highest standards of performance and scholarship.

Scholarships & Assistantships available to highly talented students.

Please join us for these exciting events!

Experience the Arts Day October 14, 2013

Honor Band Festival December 5-7, 2013 Honor Choir and Orchestra January 17-19, 2014 Jazz Festival April 12, 2014 Ohio Summer Music Camp June 15-21, 2014

www.ohio.edu/finearts/music

740.593.4244 83994 • 8-13

Ohio University has been an accredited institutional member of the National Association of Schools of Music since 1946.

2014 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE February 6, 7, 8, 2014, Columbus, Ohio • Columbus Convention Center Exhibitors as of September 13, 2013 and subject to change.

Graceland - Home of Elvis Great Day! Tours & Charter Bus Service Green Horn Hal Leonard Corporation Heidelberg University School of Music Herff Jones/Murphy Robes Heritage Music Press Hetzer Tours & Charters J.W. Pepper Inc. Jazz Education Connection of Ohio (JECO) Jet Music Jupiter Band Instruments Kent State University Kent State University Press Kerr’s Music World Lakefront Lines Inc. Ludwig Masters Publications Macie Publishing/Ed Sueta Music Publications MakeMusic, Inc. Malone University Marietta College Marshall University McCutcheon Music Miami University Mixed Bag Designs Mollard Conducting Batons, Inc. Morehead State University Motter’s Music Mount Vernon Nazarene University Music & Arts Music Celebrations International Music Filing & Storage Music First Music for All Music is Elementary Music Travel Consultants Musicians Repair Service MusicLearningCommunity.com Muskingum University National Association for Music Education Neff Company New Era/Crowne Excellence Noteworthy Tours, Inc. Ohio Foundation for Music Education & Tom Batiuk Ohio Northern University

Ohio State University School of Music, The Ohio University Ohio Wesleyan University Otterbein University Ozark Delight Candy Pearl Corporation Pee-Jay’s Fresh Fruit Pellegrino Music Center Premier Tour and Travel QuaverMusic.com Rettig Music, Inc. Royalton Music Center/Professional Suite Shar Products Company Shirley’s Gourmet Popcorn Company Singing Buckeyes Soundwaves Recording StageRight Corporation Stanbury Uniforms, Inc. - Midwest Band Stanton’s Sheet Music Stoller Fundraising Straight A Tours & Travel Sullivan Violins Summit Tour & Travel, Inc. Super Holiday Tours Tiffin University Tone Deaf Comics United States Marine Bands University of Akron University of Cincinnati University of Dayton University of Mount Union University of Toledo, The Vandercook College of Music Wenger Corporation West Music Company Wittenberg University Woodwind & Brasswind World Cultural Tours Wright State University Dept. of Music Xavier University Yamaha Corporation of America Yankee Candle Fund Raising Young’s Screenprinting & Embroidery Youngstown State University - Dana School of Music

2014 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE

Alfred Publishing Company, Inc. American School Band Directors Assoc.

Antigua Winds Antonio Violins Ashland University Baldwin Wallace University Baroque Violin Shop Blue Lake Fine Arts Camp Bluffton University Bob Rogers Travel Bowling Green State University Breezin’ Thru Inc. Brightspark Travel Brilee Music Capital University Carl Fischer Music Case Western Reserve University CCIS, Inc. Cedarville University Century Resources, Inc. Charms Office Assistant Chenille Specialty Supply CIM K-12 Distance Learning Classic Pianos, LLC Cleveland State University College of Wooster, The Columbia College Chicago Columbus Pro Percussion Conn-Selmer, Inc. Cousin’s Concert Attire Culver Summer Camps Custom Fundraising Solutions D.T. Woodwinds DeMoulin Brothers & Company Donald M. Graham & Associates Dynasty/DEG Music Eastman Music Company Educational Tours, Inc. Educational Travel Adventures eMedia Music Corporation EPN Travel Services Festivals of Music/Music In The Parks Field Studies Center of New York Fred J. Miller Inc. GBC Customized Calendars Getzen Company GIA Publications, Inc.

Companies and institutions interested in exhibiting should contact: David Adamson, Director of Business Email: business_manager@omea-ohio.org • Phone: 440-552-6983 • Fax: 440-449-8793 OCTOBER/NOVEMBER 2013

29

2014 OHIO MUSIC EDUCATION ASSOCIATION

2014 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE

THE

NEED MORE INFORMATION ON THE 2014 CONFERENCE? Throughout the next several months, information will be updated on the OMEA website.

OF

MUSIC EDUCATION

Go to www.omea-ohio.org and click on the Conference logo on the homepage.

HERE ARE SOME OF THE ITEMS THAT WILL APPEAR AS AVAILABLE: • Brochure for the High Quality Professional Development Opportunity

• Online Registration

• Performing Groups

• Receptions and Special Functions and Meetings

• Clinicians

• Research Forum and Roundtable

• Schedule—Searchable and printable

• Call for Graduate Research Papers and Poster Session

• Headliners • All-State Ensembles Information and Conductors • Industry Showcase

• Maps • Exhibitor Information • College Credit

OMEA EXHIBITOR SCHEDULE Exhibit Hall C – Columbus Convention Center February 6 - 8, 2014 Thursday, February 6: 1:00 to 6:00 p.m. (Exhibits open to Attendees) Friday, February 7: 9:00 a.m. to 6:00 p.m. (Exhibits open to Attendees) 5:00 p.m. to 6:00 p.m. (Dedicated Exhibit Time) Saturday, February 8: 9:00 a.m. to 12:30 p.m. (Exhibits open to Attendees) THIS IS THE OFFICIAL SCHEDULE. 30

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OMEA GR ADUATE RESEARCH FORUM 2014 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE

GRADUATE RESEARCH R O U N DT A BLE Thursday, February 6, 2014 10 a.m. – 3:30 p.m.

Featured Speaker: Dr. John Kratus Dr. John Kratus is a professor of music education at Michigan State University, where he teaches courses in secondary methods, philosophy, sociology, research, and songwriting. He has published in the leading international music education journals and has presented his ideas to audiences around the world.

Schedule 9:30 a.m. Continental Breakfast

10:00 a.m.

Dr. John Kratus: An Analysis of the Most

Influential Music Education Articles Published

in the First Decade of the 21st Century

Noon Lunch break

1:30 p.m.

Graduate Research Roundtable

3:30 p.m.

Graduate Research Roundtable Ends

If you plan to participate, please email Dr. Birch Browning, Chair of the OMEA Research Committee, at b.browning@csuohio.edu no later than January 17, 2014. Notifying Dr. Browning of your attendance will help ensure that we have sufficient food and space for this event.

OCTOBER/NOVEMBER 2013

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OHIO MUSIC EDUC ATION ASSOCIATION Research Committee

G R A D UAT E R E S E A R C H R O U N DTA B L E 2014 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE

2014 OMEA Professional Development Conference

CALL FOR PROPOSALS Submission Deadline: October 28, 2013 A graduate research roundtable session will be held at the 2014 OMEA Professional Development Conference in Columbus on February 6, 2014 from 1:30 to 3:30. Six Ohio graduate music education students will be selected to present their in-progress dissertations, theses, or other research projects in a conversational setting to Ohio college and university music education faculty and students.

This roundtable session will give students the opportunity to (a) practice presenting their research multiple times (being able to present research is a valuable skill), (b) talk through their study with a small, friendly group of people (talking about a study aloud sometimes helps to clarify the details), (c) receive feedback, both general and specific, from multiple persons, and (d) gain additional perspectives and ideas on how to proceed with various aspects of the study.

The format will be as follows: Each student will be seated at a table with their laptop computer (encouraged) and 30 abstracts of their study (limited to two pages). Several chairs will also be at the table for Ohio music education faculty, other graduate students, and any additional people interested in participating. The student presenting his or her research will give an 8 to 10 minute overview of their study, preferably with a PowerPoint presentation on their own battery-driven laptop computer. This will be followed by a 10 to 15 minute discussion among the presenter and small group facilitated by a faculty member in the group. After the discussion, the group will move to the next table for another student’s presentation and discussion. This process of moving from table to table will continue throughout the two-hour session.

To apply to present your research-in-progress, complete the form at the URL listed below no later than midnight on October 28, 2013. All applicants will be notified whether or not they are among the six who will present their research at the roundtable no later than December 3rd.

Online proposal submission: http://tinyurl.com/grr2014 If you have any questions about the 2014 OMEA Professional Development Conference Graduate Research Roundtable, please contact Dr. Vincent Kantorski at vkantor@bgsu.edu or 419-372-2095.

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OHIO MUSIC EDUC ATION ASSOCIATION Research Committee

RESEARCH POSTER SESSION 2014 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE

2014 OMEA Professional Development Conference

CALL FOR PAPERS Submission Deadline: November 1, 2013 The Research Committee of the Ohio Music Education Association invites submission of recent research reports for review and consideration to be presented during the Research Poster Session at the Ohio Music Education Association’s Professional Development Conference in Columbus, Ohio February 6–8, 2014. Research reports in music education or other related music disciplines (e.g., theory, musicology, performance, pedagogy, therapy) are welcome. There will be two kinds of research accepted for presentation: (a) completed master’s theses or doctoral dissertations and (b) reports of original research studies. The continuing goal of the Research Poster Session is to encourage and share the work of music researchers, students, practitioners, and independent music educators who teach at all levels. Those who wish to submit a report for consideration should comply with the following guidelines: To submit completed master’s or doctoral final research documents, it is only necessary to submit a copy of the abstract, a copy of the document’s title page, and a copy of the signature page which indicates that the paper was accepted in partial fulfillment of degree requirements. The name of the degree-granting institution should appear on one of these pages, or must be included with the submission, as well as the author’s name, address, and e-mail. If all of the above-mentioned items are included, the completed thesis or dissertation will be guaranteed acceptance for presentation. These should be sent by e-mail as a .pdf, .rtf, .doc, or .docx file (scanned, in the case of the signature page) to the address below.

To submit a report of any other type of original research project, student or faculty researchers may e-mail a copy of the complete paper, including an abstract, in .pdf, .rtf, .doc, or .docx format. The project should demonstrate sound research practices with appropriate writing style, generally following the submission guidelines found at http://cme.webhop.org/. Small-scale studies, including action research, are appropriate for this forum. The author’s name, address, e-mail, and current school affiliation should be included on a separate page/file from the abstract and/or manuscript.

Papers presented at conferences, other than previous OMEA state conferences, will be considered as long as this is clearly indicated in a statement included with the submission.

Authors will be apprised of the results of the selection process by e-mail. A hard copy of acceptance letters will be provided upon request.

Submission deadline is November 1, 2013. Only fully completed works will be considered. Submissions should not have been previously published and should otherwise adhere to the NAfME Research Publication/Presentation Code of Ethics (http://musiced.nafme.org/resources/periodicals/update-applications-of-research-in-music-education/code-of-ethics/). E-mail the materials to Kay Edwards [KayMusEd@aol.com], OMEA Research Poster Session Chair, with OMEA Research Poster Submission in the subject field.

If accepted for presentation, the primary or listed co-researchers must register for and attend the conference to present the poster. Presenters will be expected to supply 30 copies of the abstract and 5 copies of the completed report to distribute.

OCTOBER/NOVEMBER 2013

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2014 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE

BE RECOGNIZED

25 YEARS OR MORE OF SERVICE

Any music teacher who has taught for 25 years or more has an opportunity to be recognized for this outstanding achievement at the OMEA Professional Conference in Columbus on Saturday, February 8, 2014. Before the awards ceremony you are invited to a luncheon in your honor. If this is your 25th year of teaching and you meet the other requirements listed below, you are eligible. This is an honor that is bestowed upon our own by OMEA and is a fitting tribute for a job well done. You must, however, fill out an application and send it in. Education is receiving a lot of publicity these days. It would be encouraging to have some good news about the teaching profession. Your 25 years of music teaching is good news. Don’t delay!

Don’t wait until later! Fill out the form and send it in now!

Requirements: 1. Applicant must have at least 25 years of active teaching in music education (not necessarily all in Ohio).

2. Applicant must have held membership in the Ohio Music Education Association for 10 of the last 15 years of their teaching career. Membership in music education associations of other states will be considered valid.

3. Candidates whose 25 years include Armed Forces time are also eligible, providing it was interrupted time (i.e., after the applicant began teaching).

4. Applicants must fill in the form and mail by January 17, 2014.

Applications can be found on the OMEA website (www.omea-ohio.org). Once on the website, select “Portal Access” to log into your “Member Portal”. Follow the links to “Activities”, “Award Nomination Forms” and then select “25-Year Award”.

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TEACHING TIPS - BAND The Purpose-Led Band: A Personal Viewpoint on How to Provide Our Students the Best Musical Experience Possible Dr. Jesse Leyva; Kent State University The beginning of the school year is filled with a common sense of joy, energy, and optimism. The students in our band programs reconnect and share a sense of enthusiasm that is contagious. While many prepare for marching season and others ready for junior high and beginners to report, this time of year offers a unique opportunity: to project our purpose.

How is band going to provide our students with the best musical experiences possible? The manner in which we plan, program, and prepare is key in harnessing excitement and achieving our purpose.

For most music educators, articulating the unique opportunities that band offers our students may come as second nature. We are constantly being asked to justify budgets, personnel, scheduling, and many other key aspects of our programs. The performances we plan, the music we select, and most importantly, the way we teach that truly communicates our mission to the school community.

BELIEF SYSTEM: WHAT DO I WANT MY STUDENTS TO LEARN ABOUT MUSIC THROUGH BAND? The first step in helping to dispel the notion that the school band exists solely for entertainment or school spirit is to develop belief system-based standards in music education. Sometime during our undergraduate studies we were asked to share a philosophy of music education. When was the last time, however, that you revisited and further defined your beliefs?

36

Many of us have heard the saying, “Change is inevitable. Growth is an option.� As we grow as teachers and musicians, our beliefs should continue to evolve and reflect those changes. Standards on the national, state, and district level serve as our guide in this constant refinement of our teaching philosophies. When we are whole-heartedly committed to these beliefs they become deeply personal and are communicated in a genuine and passionate manner. Our constituencies better understand our rationale for planning performances and programming.

ASSESSMENT: PERFORMANCE PLANNING AND REPERTOIRE SELECTION The band performances we plan and the music we select are some of the most important decisions we make as music educators. Although many performances occur on a yearly basis (athletic events, community spirit, etc.), it is the repertoire we select and the manner in which we present the music that communicates our values to our audiences.

To make these difficult choices, we first must evaluate the strengths and deficiencies of student performance in relation to our standards and beliefs. Identifying positive performance abilities is key to not only maintenance, but also in building momentum to improve achievement in weaker standards. The personal convictions we develop help us prioritize areas of improvement. It is equally important to take inventory TRIAD

of our own assets and areas in need of improvement as music teachers. This is crucial in helping us make educated choices about the time commitments we ask of both our students and ourselves.

CURRICULUM: BAND REPERTOIRE AS CURRICULUM TO ACHIEVE OBJECTIVES Empowered by the knowledge of ability level and time allotments, we can then program repertoire that meets the needs of the students. By judiciously selecting music for each performance, we offer a meaningful musical experience to our students. In the spirit of starting with the end result in mind, I believe it is imperative to program a challenging masterwork to be performed during the latter part of the school year.

The piece should reflect your objectives and be a culmination of student growth for the year. With a repertoire target in mind, musical choices can be planned in a sequential manner.

For example, if I choose to program Symphony for Band by Vincent Persichetti as the culminating work of the year, it would be important to program works that contain many of the same musical concepts. I

OCTOBER/NOVEMBER 2013

could begin with a less challenging works by Persichetti, such as Pageant or Psalm for Band to introduce my students to his compositional language. To follow up with a more challenging piece to expose students to wind band repertoire of the same 1950s era, I would prepare a study unit on Canzona by Peter Mennin. Vox Populi by Richard Danielpour (arr. Stamp) would be a great opportunity to perform music by a student of Persichetti. These works would then lead to the study of Persichetti’s masterwork for band.

Rather than programming concert to concert, a sequenced selection of repertoire offers students the opportunity to gain conceptual breadth and depth over the course of a year in band. In a world where learning and interaction has become increasingly segmented, it is even more important that we “connect the dots,” so to speak, with the concepts we teach.

THE REHEARSAL PROCESS: PACING OUR LESSON PLANS Once repertoire has been selected, one of the most challenging tasks we have as band directors is managing the time we use to pace rehearsals. During the

37

early part of my career, I struggled mightily with using my rehearsal time in a manner that lead to cohesive, confident performances by my students. Many times I would over-program and find myself hastily trying to fix technical aspects of the music all the way up to the day of the concert. My students not only sensed my level of stress, but also did not gain the level of confidence that comes with playing through large portions of a piece several times before a performance. Doing so also provides a sense of freedom and opportunity to perform at a much higher level of musicality and consistency.

With experience and getting to know my students better, I have improved the way I balance “big picture” and “nitty gritty” teaching moments. The hourglass concept that promotes general overview at the beginning, detail oriented focus during the middle, and synthesis of large musical moments at the end is central to how I plan my rehearsals. This approach also allows me to better assess student progress and my effectiveness.

If the learning process is going slower than expected, I reference my belief system and priority of musical concepts. This helps me focus on what I truly feel is important for my students to gain from studying and performing a composition. On the rare occasion that the band is farther along than expected, I can then widen my focus and address more educational standards.

ASSESSMENT: PERFORMANCE REFLECTION, GROWTH MEASUREMENT, APPRAISAL OF GOALS Teaching is one of the noblest forms of service to others. For band directors, we gain satisfaction from the musical growth of our students. It is what makes band a unique experience for our students. Following a performance, we are able to take a step back and measure what our students gained from being in band.

Assessment of our belief system, repertoire selection, and teaching strategies helps us ensure that we serve as a model of musical growth for our students. We understand practices that need to be repeated as well as changes we need to make. Reflection reminds us of teaching highlights and the musical rewards of being a band director.

Dr. Jesse Leyva has been named Director of Bands at the Hugh A. Glauser School of Music at Kent State University, effective August 2013. Dr. Leyva comes to Ohio from the University of Illinois, where he served as Visiting Assistant Professor of Music and Assistant Director of Bands. Prior to Leyva’s appointment at UI, he was Director of Bands and Associate Professor of Music at Henderson State University in Arkansas, and taught in public and private high schools in California. Dr. Leyva also received his commission as an officer and served in the United States Air Force Band Program as Commander/Conductor of the 561st Air Force Band, and is published in several volumes of the GIA series, Teaching Music Through Performance in Band.

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Saturday, March 1

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513-529-3014 music@MiamiOH.edu

TEACHING TIPS GENERAL MUSIC Structures for Improvisation in Early Elementary General Music Roger Sams; Music is Elementary Mr. Sams will present a session at the 2014 OMEA Professional Development Conference

Yikes! The standards are telling you that you’re to be teaching improvisation and you don’t have a clue what to do. Relax—the process isn’t that hard.

As with the cultivation of any skill, the trick is to break the task down into sequential learning steps.

You know how to do that!

The first key to nurturing improvisers in your classroom is to begin at the beginning. Rhythm comes before pitch. Small chunks, such as 2-beat rhythmic building blocks or 4-beat motives, come before 8-beat phrases. Body percussion is the perfect instrument for working with rhythm. Claps, pats, snaps and stomps create a variety of timbres that engage the whole body in music making. I suggest beginning every music class with 4-beat body percussion echo patterns, led by the teacher. Four sets of 4-beat echo patterns create a 32-beat chorus, a standard form in our culture. After a few weeks of teacher-led rhythm patterns students will be ready to improvise 4-beat patterns of their own.

Integrate improvisation with the song literature and the learning that occurs in your classroom on a daily basis. In my first grade classroom we always begin with so and mi, quarter note and two eighth notes. Here’s a typical early first grade song:

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Once the students can read the rhythm and the so-mi melody, you may wish to add the steady beat accompaniment on bass xylophone and/or bass metallophone. Reading and singing a simple so-mi melody and accompanying it with a steady beat are appropriate goals for early first grade.

Let’s add some improvisation to the learning process. Divide the class in half. Half of the students learn to play the following pattern on glockenspiel or another barred instrument. If you don’t have barred instruments you may wish to have them sing the pattern with the text, “Cobbler, cobbler, mend my shoe.”

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Once the barred instrument players can play their motive, proceed through the following steps. First, the teacher models every step of the process and then the students improvise, playing rhythm sticks or the wood block.

• Fill in the four beats of rest with four quarter notes. Now with four pairs of eighth notes.

• Now improvise for four beats using a mixture of quarter notes and eighth notes.

• If the students are ready, add quarter rest to their choices.

Once you’ve been through the process, put the improvisation together as a B Section with the song in ABA form. Trade groups so that the barred instrument players have an opportunity to improvise on rhythm sticks and vice versa.

You can use this “B” section structure as a model for creating 4-beat rhythmic improvisation activities with many of the songs you teach. “Pease Porridge Hot” uses a so-mi-do tone set.

Once the students have become competent at improvising 4-beat rhythm patterns, you’re ready to work with melody. You can do this with so-mi, so-mila, so-mi-do, and do-re-mi melodies.

“Closet Key,” is a do-re-mi song/game that is very popular in elementary music rooms. Students learn the song by rote while playing the game in a seated circle. One student, the guesser, leaves the circle and covers his/her eyes. The closet key is given to one student in the circle who promptly hides it (in a pocket, under a leg, etc.). The guesser comes back and walks around the circle as everyone sings the song. Students sing softly when the guesser is far away from the closet key. They crescendo as the guesser gets closer to the closet key. At the end of the song the guesser guesses who is hiding the closet key and another student becomes the new guesser.

Use the following improvisational structure for dore-mi 4-beat improvisations on barred instruments.

Students sing the 4-beat question and then improvise their do-re-mi instrumental answers. As always, the teacher provides a model and the students imitate that model as they grow their skills.

The contrasting “B” section is designed for 4-beat rhythmic improvisation. Work through the same process as we did with “Cobbler, Cobbler,” except the 4-beat question motive is spoken, rather than played.

OCTOBER/NOVEMBER 2013

Once the students have mastered improvising 4-beat patterns, they are ready for 8-beat improvisation. Remember that rhythmic work comes before melodic work. Once they have mastered two and three pitch improvisations, students are ready to work with the pentatonic tone set (do-re-mi-so-la). The follow41

ing song, composed to a traditional rhyme, provides a playful structure for rhythmic, and then melodic, improvisation in 8-beat phrases.

for improvisation. The key is to start at the beginning with clear, solid structures. Don’t ask too much too soon. Mastery at every step indicates that the students are ready for more. Don’t move forward until your students demonstrate that they are ready for more challenging activity.

Giving your students the gift of improvisation opens up a whole world of music making. The joys of spontaneous music making are well worth any failures along the way. And yes, there will be failures. You can’t learn and grow without failing. Make your classroom a place where taking risks and failing are important steps in the learning process. And don’t forget to have fun!

Ready.

Set. Improvise!

• Teacher plays eight steady beats on guiro or another percussion instrument following each sung phrase. Students travel like ducks and geese.

• Teacher models how to improvise 8-beat pat- terns during those breaks, using quarter notes, two eighth notes and quarter rest.

• Students improvise (clapping first, then quack- ing like ducks/geese) while traveling.

• Consider student rhythmic improvisation on guiro.

• When students are successful with the rhyth- mic improvisation, consider vocal or barred instrument improvisation using so-mi, then so-mi-la. First do solfa with hand signs and then switch “quack,” if you are improvising with the singing voice. If your students are developmentally ready, consider improvi- sation on do, re, mi or the full pentatonic tone set.

Roger Sams holds a BM in Music Education from Bowling Green State University and a MA in Music Education from Case Western Reserve University. He retired from the music classroom in 2013, after thirty-one years of teaching children. A frequent presenter at regional, state and national conferences, Roger has worked with children and adults in Canada, China and India. Roger now serves as Music Education Specialist at Music Is Elementary (www.MusicIsElementary.com) in Cleveland, OH and can be reached at rogersams@mac.com.

Once the students are capable of improvising 8-beat phrases with the pentatonic tone set, gradually increase the rhythmic and melodic vocabulary used in the song material and the improvisations. Select high quality songs that provide simple, yet inspiring models 42

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think in sound Undergraduate Programs BS in Music Education BA in Music Double Major Dual Degree Minor in Music

Graduate Programs MA in Music Education MA in Music Education with Licensure (MAL) PhD in Music Education MA in Music History and Literature PhD in Musicology MA in Historical Performance Practice (HPP) PhD in Musicology with HPP Concentration DMA in HPP

music.case.edu 800. 808. MUSC

Explore Music at Mount Union Bachelor of Arts and Bachelor of Music

2014 Audition Dates | January 25, February 1, February 15, February 22 Learn More | (800) 992-6682, mountunion.edu/music OCTOBER/NOVEMBER 2013

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TEACHING TIPS - CHOIR Into Intonation: Guidelines for Singing in Tune Dr. Gayle Walker; Otterbein University Dr. Walker will present a session at the 2014 OMEA Professional Development Conference

To sing in tune, a vocalist must have a carefully balanced coordination of multiple body parts, a constantly engaged and attentive mind, sensitivity to acoustics, and a history of experimenting with, and successfully adjusting, vocal pitch. In short, pitch accuracy is a complex skill, especially in ensembles containing students with varying levels of experience.

No wonder choral conductors and their choirs spend countless hours tuning repertoire! Here are some basic strategies and guidelines that can help us fix intonation problems in the choral rehearsal.

1. KEEP THE SINGERS MOVING. Nothing works better than movement to keep singers in tune. Depending on the repertoire at hand, students might: • march and swing their arms; • walk quickly in a circle, changing direction

for each new phrase; • “paint” the shape of each phrase with their

entire arm; • rapidly spin their forefinger upward for long

notes or phrases; deeply bend their knees for

the high note of each phrase; sway from side

to side; etc.

Through such movements the entire body is energized, buoyant, and alert – important requirements for singing in tune.

OCTOBER/NOVEMBER 2013

2. LOOK AT THE SINGERS. This seems obvious, yet the visual aspects of the score can easily become a conductor’s crutch, a comfortable home for our eyes as our ears undertake the complicated task of evaluating sound. We must remind ourselves to look up and get out of the score.

Things to watch for include: • Posture—this should be “noble,” with an elon-

gated and tall spine, head and neck comfortably

balanced and free of tension, shoulders relaxed

and down, chest slightly lifted, arms loose at

sides, knees slightly flexed, and feet slightly apart; • Breathing technique—the singers should take

a quiet and low inhalation, expanding the lower

ribs and back, and keeping the shoulders low

and free of tension; • Facial involvement — singers should activate

an open, inviting, and lively expression as when

one receives a surprise gift. A face that looks

lazy, uninvolved, or closed might indicate a

lowered soft palate, lazy phonation, or constric-

ted vocal tract, bringing about a lackluster,

breathy, or flat sound; • Mouth shape—the appearance of the mouth

indicates the space and shape of a singer’s res-

onating chamber. A mouth shape that is horiz-

izontal and spread will bring about an overly

bright, shrill tone quality that can sharpen the pitch.

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3. TEACH STUDENTS THE THREE STEPS OF PRE-PHONATORY TUNING: • hear the pitch internally; • prepare the pitch physically—inhaling through

the pitch, on the shape of the vowel with lifted

soft palate and open throat; • sing, while maintaining that open, lifted feeling.

Imagery that helps singers lift the soft palate includes inhaling on the word “how,” hot potatoes or a hot egg on the back of the tongue, and deeply inhaling a beautiful fragrance. If a singer’s face, mouth shape, and throat are not adequately prepared before the phrase begins, it can be difficult to correct intonation later in the phrase.

4. SING PROBLEMATIC PORTIONS OF REPERTOIRE USING LIP BUZZES OR TRILLS. Appropriate breath energy and support is crucial to intonation. Too little breath energy may cause flatting, and excessive breath energy may cause sharping.

Lip bubbles ensure that the breath flow is adequate and consistent; a drop in breath flow will make the bubbles stop (the bubbles will also stop if the corners of the mouth widen—to rectify this singers can place their forefingers beside the corners of their mouths).

When sopranos flatten as they ascend a scale, having them sing the phrase with lip bubbles followed by singing the same passage as written does wonders.

Lip bubbles also assist the students in learning how to measure their breath through a long phrase; such breath management will help keep the ends of long lines from going flat.

5. EVALUATE VOWELS. The vowel shapes the vocal tract, the resonating cavity of the singer’s instrument. It is important that the vowel contain a combination of spacious warmth and forward resonance (the Italian term for this combination is chiaroscuro). When a vowel sounds overly dark and “hooty,” the singer may be retracting the tongue, directing the sound into the throat. Young singers sometimes do this in an attempt to have a more “mature” sound, or because the sound is easier to blend. However, it is a sign of vocal tension, 46

and it should be corrected by teaching students to sing with forward resonance. Vowel diphthongs also need to be considered: are the singers maintaining an open vowel throughout the syllable, or is a diphthong crunching the vowel early? It is the open vowel that maintains both the beauty and intonation of a tone, so diphthongs need to be either avoided or delayed in the life of a vowel.

6. EVALUATE CONSONANTS. Improperly applied consonants can compromise the most beautiful and in-tune vowel. It is especially tempting for singers to “ride” the consonants n, m, ng, l, and r at the ends of syllables and words, which can close off the vowel space, lower the soft palate, and create tension in the jaw. Any consonant can adversely affect the pitch if a singer over-shapes it or does not shape it in accordance with neighboring vowels. Remind your singers to utilize a quick onset and release of the consonant with the tip of the tongue or front of the mouth.

7. CHANGE FORMATION. Where the singers sit affects intonation, and there are many seating options one can try. When sitting in sections, seating voices of similar color beside each other helps unify the singers’ vowel shapes. Spreading singers out as far as possible, even taking up the entire room in rehearsal, helps them hear themselves and adjust intonation more easily. Singing with each voice part in its own circle is also a helpful for unifying vowel shapes in rehearsal. After the notes are learned, seat the singers in a mixed, or “scrambled” formation. SBAT placement puts the most dissimilar voices beside each other, and might make it easier for singers to judge intonation. If a choir is less advanced, helpful mixed variations could include SSBBAATT, or SSAATTBB, or SSSAAATTTBBB. 8. USE THE PIANO LESS. It is so tempting for conductors and singers to rely on the piano; when it is there, it can be a big help.

However, it is good to remember that by rehearsing a cappella, singers are forced to listen more and to actively create accurate intonation. In an ideal world all TRIAD

choirs would rehearse a cappella all the time. However, few conductors have an ideal situation, and so it is up to each conductor to decide how much piano to utilize in rehearsal. The important thing is to use it much less than you think it is needed.

These guidelines and strategies are only the tip of the iceberg. The body provides its singer-owner a complex, ever changing instrument. Nothing replaces a complete understanding of the vocal instrument, and how its component parts interact in a variety of situations, while standing next to a variety of singer-owned instruments. Ah, the complexity of choral singing; that is why should be thankful we have a lifetime to enjoy learning how to sing in tune!

Dr. Gayle Walker is currently in her fourteenth year as Director of Choral Activities and Professor of Music at Otterbein University, where she is responsible for the organization of seven vocal ensembles, conducts Concert Choir and Opus One vocal jazz ensemble, and teaches private voice as well as classes in conducting and music history. Dr. Walker served as President of the Ohio Choral Directors Association 2007-2009, and is currently President-Elect of the Central Division of the American Choral Directors Association. In 2013 she was Co-Chair of the Ohio All-State Choir. Her choirs have performed in Paris, Prague, Beijing, and Vienna, as well as major cities throughout the eastern United States.

Music at Otterbein More than an education...an experience!

Otterbein has an array of performance opportunities — bands, choirs, orchestras, and programs in jazz and opera. Our ensembles enjoy an outstanding reputation and have performed at regional and national conferences and tour throughout the country and abroad.

These ensembles are open to all students at Otterbein.

2014 Audition Dates Saturday, January 25, 2014 Tuesday, February 11, 2014 Saturday, February 22, 2014 Saturday, March 8, 2014 (Participation Awards) Wednesday, March 12, 2014

Degrees Offered: • Bachelor of Arts, Concentrations in General Studies, Theory and Composition, History and Literature and Jazz Studies • Bachelor of Arts in Music and Business • Bachelor of Music Education • Bachelor of Music in Performance

For more information on the Department of Music at Otterbein, or to arrange an audition, contact Claire Brock, cbrock@otterbein.edu or 614-823-1504.

www.otterbein.edu/music

Otterbein is an accredited member of the National Association of Schools of Music (NASM) OCTOBER/NOVEMBER 2013

47

Welcome new full-time faculty

Music Careers Day Wednesday, October 23, 2013 Free, fun and informative for high school students and parents.

THE UNIVERSITY OF AKRON www.uakron.edu/music

BUCHTEL COLLEGE OF ARTS AND SCIENCES FINE ARTS DIVISION

James Albrecht, trombone

Todd Gaffke, saxophone

Bryan Nichols, choral music education

Congratulations to our retirees:

Visiting college lecturers:

Samuel Gordon - 19 yrs service William Hoyt - 32 yrs service Scott Johnston - 35 yrs service Tucker Jolly - 33 yrs service Robert Jorgensen - 26 yrs service George Pope - 35 yrs service Richard Shanklin - 30 yrs service

Jane Berkner, flute Jack Harel, oboe Karl Kramer-Johansen, horn Andy Larson, tuba Mark Dulin, trumpet Vaughn Roste, choral studies Joe Witkowski, band

• Explore opportunities in music.

• Talk with faculty, students and alumni.

• Tour campus.

• Rehearse with University ensembles.

• Prepare for college and career success.

• Learn about the admissions process, music auditions, scholarships, Honors College, residence halls and financial aid.

To register for Music Careers Day, call 330-972-8301, e-mail concerts@uakron.edu, or register on-line at www.uakron.edu/music.

School of Music • Outstanding programs, ensembles and facilities • Numerous performance opportunities • Master classes and residencies by stellar guest artists • Affordable tuition, generous scholarships • Internationally renowned faculty-musicians

DEGREE PROGRAMS Bachelor Of Music (B.M.) • Music Education • Performance • Accompanying

• History/Literature • Theory/Composition • Jazz Studies

Bachelor of Arts in Music (B.A. in Music) Master of Music (M.M.) Dr. Ann L. Usher, Director 330-972-6923 • ausher@uakron.edu www.uakron.edu/music

The University of Akron is an Equal Education and Employment Institution © 2013 The University of Akron

42nd Annual Ohio Band Directors Conference (OBDC) Friday and Saturday, December 6 & 7, 2013 OBDC Honors Band, Green Middle School 8th Grade Band, Perry High School Symphonic Winds, Grove City High School Symphonic Band, and The University of Akron Symphonic, Concert, and University bands.

Guest conductor Colonel H. Bruce Gilkes, guest composer Julie Giroux.

Deadline for OBDC Honor Band applications is September 30. Call 330-972-6919 or visit www.uakron.edu/music/ensembles/bands for details.

34th Annual TubaChristmas!

Saturday, Dec. 21, 2013 For more information, call 330-972-8301 or e-mail concerts@uakron.edu.

Scholarship Auditions Friday, December 6, 2013 Saturday, February 1, 2014 Saturday, February 15, 2014

MUSIC MASTERCLASS WOODWINDS Do Your Students Know HOW to Practice?

Dr. Shelley Jagow; Wright State University

Students must not only be told to practice, but they must also be told how to practice. We all are well aware that quality practice serves greater benefits than quantity practice. It is for this reason that directors should use practice charts with caution when correlated to

student assessment. The most practical age to promote healthy practice is during their beginning years. Be creative when it comes to encouraging beginners to practice. Figure 1 is a “recipe for success” that I constructed for my beginning students when I first began teaching.

FIGURE 1: “MUSICAL MUFFINS RECIPE”: (A BEGINNING INSTRUMENTAL PRACTICE PLAN)

You need to practice 30 minutes every day. Here is a great recipe to make you into a good musician.

Prepare beforehand: a quiet room for yourself

a music stand

a comfortable chair

without arms Add:

1 minute of long tones 2 minutes of lip slurs/octave slurs 5 minutes of scales with various articulations and dynamics 5 minutes of sight reading 12 minutes of band method music and assignments 5 minutes of active listening to recordings suggested by your teacher

Stir in:

good posture good embouchure full, controlled breath support concentration! (A concentrated and focused practice for 15 minutes is better than a distracted practice for 30 minutes.)

Bake at 365 days a year. Serves enjoyment and self-esteem for a lifetime!

OCTOBER/NOVEMBER 2013

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Here are some other methods to share with your students to encourage healthy practicing: PRACTICING ACCURACY Two secret tools may change your life forever when practicing accuracy. Are you ready for this? (insert drum roll here) The metronome and the tuner.

Yes, there you have it folks, not such a big secret after all, yet they still remain two tools that students either defectively use or never use at all. And most tuners are dying to be turned on so that they may assist players, especially when they are working on long tones, to learn the intonation tendencies of their instruments.

Insist that your players own and use both a metronome and a tuner. Take the time to demonstrate how to properly use these tools so that the students will become their own best critics in the practice room.

Further tips for practicing accuracy include practicing a passage in varying rhythms, articulations, tempos, etc., before performing the passage again as printed. Consider alternate fingerings that may assist in ease of facility, and look for patterns that may be mentally regrouped to add clarity to the rhythmic subdivisions.

PRACTICING MUSICIANSHIP There is also a magic tool for practicing musicianship. Your parents may call it an LP, your grandparents may call it an 8-Track, but in the current century we call it a CD or mp3. Purchase quality audio recordings of instrumental artists and ensembles, and then listen, listen, listen…and then listen some more. Many quality recordings are available at a very affordable cost, and you can listen for free via your local public radio station that programs classical music. Don’t forget the public library! You can also locate many quality channels online that stream audio right to your home.

Encourage young players to listen to good music every available moment they have. Not only should all instrumentalists own recordings of their own instrument, but they should also listen to other instruments, vocalists, chamber ensembles, and large ensembles.

The director must carefully provide direction in order to guide parents and students towards purchasing quality recordings. Without guidance, students could be listening to poor recordings that provide very little 50

musical education for them.

Recordings provide one of the best methods for absorbing musicianship as we listen to great artists bring music to life as they shape musical lines, shade nuances, caress phrases, and awaken dynamics. If we desire for our students to be the best musicians they can be, then we must surround their ears with the best!

PAPER-CLIP METHOD Instructions: • Fasten 5 (or 10) paper clips to the left side of

the music stand.

• Assist the student to isolate particular prob-

lem areas in their assigned music.

• The student will practice the isolated section

until he can correctly perform the passage.

• Each time the passage is performed correctly,

the player is to slide one of the paper clips to

the right side of the music stand. If on

the fourth time through a passage an error

is made, then all of the paper clips are

positioned back on the left side of the stand

in order to start over at number one again.

• Once the player has correctly performed the

passage five (or ten) times in a row, he may

then proceed to the next isolated area.

The method works because it trains players to perform a passage more times correctly than incorrectly.

If we do not restart at number one each time we make an error, then essentially we are training ourselves to perform the passage more times incorrectly.

THE TORTOISE AND THE HARE Just as many students believe more is better, they also believe that faster is better. Some of the worst clarity problems in an ensemble occur from players who like to practice everything in fast gear! When asked to play a passage at half the tempo, they simply cannot do it. Fingers run together, articulations run amuck, and the resulting sound is muddy. Of course, the player will adamantly profess that they can play it, but just not that slow. This is a myth. If a passage cannot be performed with control and musicianship at a slow tempo, then it is impossible that it is performed with control and musicianship at a faster tempo. NevTRIAD

er accept the excuse from a student that they can play something with improved accuracy at a faster tempo.

A good practice habit is to request that each student perform more challenging technical passages at three different tempos using the paper-clip method on each of the three tempos. The first tempo should be approximately 10–20 metronome clicks under the actual marked tempo. The second tempo should be approximately 5–10 clicks under the marked tempo, and the third tempo is the actual marked tempo.

(Sometimes, it is beneficial to add a fourth tempo that is just a few clicks faster than the marked tempo. The student will then feel more comfortable and in control when returning to the marked tempo.)

For example, if a piece was marked at quarter note = 120, then a practice routine may look as follows: Tempo 1 quarter note = 100 Tempo 2 quarter note = 110 Tempo 3 quarter note = 120 (* Target Tempo) Tempo 4 quarter note = 126 PRIORITY PYRAMID Tonal production and quality of sound should be the first priority in every practice session. A passage performed technically perfect means nothing if the tonal quality is substandard. Use Figure 2 when introducing priority of concepts within a student’s practice routine.

FIGURE 2: PRIORITY PYRAMID CONCEPT PYRAMID

MATERIALS PYRAMID

SCALES ARE VITAMINS! Without a thorough knowledge and practical performance facility of scales, we are surrendering ourselves to be a malnourished musician. It is unfortunate that many students graduate from high school with only the infamous Concert B-flat Scale in their diet. Encourage your students to learn as many scales as possible, and never offer the impression that scales are difficult: there are only eight notes to learn in each scale! The Scale Matrix (Figure 3) may assist in motivating students to record and track their scale progress.

Instead of attempting frustration to learn all scales in a short period of time, the matrix is designed to add scales in a timely learning sequence.

Shelley Jagow is professor of saxophone and symphonic band at Wright State University. She is the author of the book and DVD Teaching Instrumental Music: Developing the Complete Band Program (Meredith Music), Tuning for Wind Instruments: A Roadmap to Successful Intonation (Meredith Music) and the DVD set of The Londeix Lectures (www.wright.edu/musicstore).

FIGURE 3: SCALE MATRIX

OCTOBER/NOVEMBER 2013

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Join us in Music City for a conference that’s designed for you! This year, you’ll have a whole new range of practical sessions to choose from – giving you tools and techniques you can take right into the classroom. Plus, you’ll find inspiring performances throughout the conference, including music at the Grand Ole Opry House, a performance based on the new Disney musical Tarzan and a special headliner we’ll be announcing soon. Don’t miss this chance to kick up your heels - and get credit for it.

RESERVE YOUR SPOT TODAY AT WWW.NAFME.ORG/NASHVILLE2013

If your future is Music... your future is Wright State.

Wright State Department of Music • Friendly environment and personal attention • Residencies with acclaimed guest artists • Nationally and internationally renowned faculty • High placement rate for music graduates • Affordable tuition and competitive scholarships for both undergraduate and graduate students • Regional and national accreditation*

Undergraduate Degrees • Music Education • Music History and Literature • Performance • Music combination degrees: Pre-Med, Management, & Marketing

Questions? Contact us… music@wright.edu (937)775-2346

Graduate Degrees • Music Education • Performance • Conducting • Humanities

*Accredited by the National Association of Schools of Music (NASM), National Council for Accreditation of Teacher Education (NCATE), and North Central Association of Colleges and Schools (NCA)

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7/25/13 3:25 PM

MUSIC MASTERCLASS TROMBONE Slurring on Trombone: Confusion Over Terminology and Markings for Trombonists Dr. Gretchen McNamara; Wright State University

The slur is often introduced early in band pedagogy as fully connecting notes without tonguing. This definition works well for every instrument with the exception of the trombone. That funny thing called a slide prohibits the above definition from being universal across the instrument. In addition, performance practice over time has altered our definitions of terms associated with playing smoothly, like slur, legato and tenuto. When do trombonists use the tongue? Is there a difference between legato and tenuto? What then is a slur? Keep reading to find out.

Let’s start with some basic definitions: Slur: A curved line connecting notes on a score

to indicate that they are to be played or

sung legato.

Tenuto: So as to be held for the full time value; sustained Legato: In a smooth, even style without any

noticeable break between the notes On trombone, slurring (an articulation) is used to execute legato style. It requires the use of the natural slur (a technique) as well as legato tonguing (also a technique) to convey the style legato. The specific pedagogical techniques will be discussed later. Tenuto (also an articulation) can be considered the first level of stress accent and is performed with a “tah” articulation without decay and held full value.

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This is in direct conflict of how other wind instrumentalists execute a legato style and interpret tenuto.

On trumpet, for example, slurring—indicated in music with the curved slur line above a phrase—is executed without the tongue. Legato, marked with either the word legato in the music, or the tenuto marking (–) above each note is executed using a legato articulation (‘dah’ not ‘tah’). The “tah” articulation is reserved only for normally stylized notes that don’t fall into any kind of full value or smooth category. Performance practice over the years has established the distinction between slurring and legato as related to tonguing or not tonguing, but it’s not so simple for trombonists, especially young ones. No wonder they are confused.

LEGATO TONGUING I have experienced many young trombonist say that slurring means “don’t tongue.” I’m sure it’s not because their band director taught them that, but because their band director taught everyone else around them that. (At least they’re paying attention to something!) What students come up with to cover up the gliss that occurs when moving between notes on the same partial is a variety of inappropriate techniques that compromise tone and clarity of articulation. This includes puffing the air on each and every note (‘hah, hah, hah’) or starting the note with their lips (‘pah, pah, pah’), both of which interrupt the airstream and restrict resonance. The solution to the unbecomTRIAD

ing (i.e., very cool) gliss is to use a very light legato tongue (‘dah, dah, dah’) on the notes that move along the same partial. The air must stay moving.

THE NATURAL SLUR Notes that move across partials however, fall into the same camp as every other instrument when it comes to slurring: NO TONGUE! Finally, some consistency! When the pitch goes up and the slide goes down, and vice versa, a partial is crossed. In addition, when moving between notes in the same position, also known as a lip slur, a partial is crossed. No tongue is required. The air must stay moving and no alternative articulations such as the “hah” or “pah” should be employed, just like when legato tonguing.

First Natural Slurs • Low B-flat to C in 6th and back. This is a big movement, if students can do it here,

their slide technique will be fast enough to do it anywhere.

• F on the staff to G in 4th and back.

• Bb on the top of the staff to C in third and back.

Also, consider starting on the non-first position note (C, G, and C respectively) so students start with a descending natural slurred interval as opposed to ascending natural slurred interval.

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First Lip Slurs • Low Bb to F on the staff, or F to Bb at the top of the staff all in 1st position should be students’ first lip slurs.

WHAT TO LOOK AND LISTEN FOR… If you hear excessive space between the notes, students are likely articulating incorrectly. They are stopping their air. If you see excessive embouchure movement, they are likely articulating incorrectly and stopping their air between every pitch.

WHAT TO TEACH… Use one airflow for one or many pitches. Articulate with the tip of the tongue along the gum-line. Use a legato articulation (‘dah’) to execute a slur (legato style) for any pair of pitches that fall along the same partial. Use a natural slur (like everyone else), for pitches that cross partials. Use “tah” for tenuto and all other articulations and after every breath.

Note: Younger players may employ a legato articulation (‘dah’) for larger intervals that ultimately can be naturally slurred. As their air flow use and embouchures develop, they will eventually be able to naturally slur larger intervals.

Dr. Gretchen McNamara is on the music faculty at Wright State University in Dayton, Ohio. She teaches Applied Trombone, Music Education Classes, and directs the Jazz Ensemble.

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MUSIC MASTERCLASS STRINGS Mastering Bow Distribution and Utilizing the Entire Bow is Vital for Student Progress!

Dr. Brenda S. Mitchell; Miami University

BOW TECHNIQUE Mastering use of the full bow is a major component of technique on all four instruments, and should be a goal for string teachers. Learning how to use the entire bow is important, both for beginning players and those who are advancing. Young upper string players are generally most comfortable using the upper half of the bow, while the celli and double basses are more comfortable playing at the frog. All instrument players should become familiar with all parts of the bow.

For upper strings, a bent right thumb is crucial for effectively placing a bow stroke close to the frog, especially for bow retakes. If the thumb is caved or bent in (“banana thumb”) or tense, students will have difficulty placing the bow close to the frog in a controlled manner. Instead the bow retake will result in a “crash landing,” rather than the desired “soft landing,” which is controlled.

There are several steps that will help with the mastery of the bow retake. Paul Rolland used the concept of the “flying pizzicato” to encourage a large right arm motion; the student plucks the string, then immediately moves the right arm in a large counterclockwise circular motion. Once the circle pizzicato is mastered, students can move on to the bow, playing a down bow using the lower half of the bow, then lifting off the string into the same circular arm motion used in flying pizzicato. Have students freeze at the top of 56

their circular motion, and look up at their bow holds, checking that the thumb is bent out, allowing for a “soft landing” on the string. Squeezing the bow leads to the dreaded, uncontrolled “crash landing” when the bow is replaced on the string. When having students do this exercise, teachers should be sure that students are using the lower half of the bow. Check students’ right thumbs frequently!

Once the soft landing retake stroke is mastered, students can play repeated down bow quarter notes with a retake after each note, first on open strings, then with a scale the students know well. Keep the focus on the right thumb: bent out and not squeezing or tight.

BOW DISTRIBUTION String players should learn “bow geography,” and be aware of the following parts of the bow, with appropriate abbreviations: LH (lower half), M (middle), and UH (upper half). The Middle can overlap part of both the Upper Half and the Lower Half of the bow (think of the middle one-third of the bow). Applying different colors of tape on the side of the bow that is visible to the player can give a visual cue to students.

I like green tape for the Lower Half of the bow, since many students approaching the frog on an up bow tend to slow their bow speed, leading to scratchy, unpleasant sounds. Green is like a green traffic light: Go!! The Middle can be a contrasting color, such as TRIAD

red, and the Upper Half could be blue tape. Highlighters can be used in music to point out the appropriate part of the bow to use, along with the corresponding abbreviation.

Planning bowing and analyzing the appropriate bow distribution for music is an important skill for students to develop. Model for students how to analyze the part of the bow that is best in music and why, and have students mark in bowings and part of the bow (LH, M, UH) for a tune that everyone knows.

Then have students write the bow distribution in their music for different tunes. Sometimes bow speed and arm weight into the string must be adjusted for musical reasons. Three-four meter presents interesting asymmetrical bowing issues, for example. In a passage in 3/4 meter where there are measures of half note-quarter note, the quarter note usually requires a faster bow speed with less arm weight in order to avoid the quarter note being much louder than the half note.

Mastering the technical demands of the right hand and arm takes time, and is vital for sound technical and musical development for string players. Teachers

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must have patience—and imagination—when helping students learn the finer points of the right hand.

Bowing doesn’t just happen by accident; it must be planned!

Resources Erwin, Joanne, Kathleen Horvath, Robert McCashin, and Brenda Mitchell. New Directions for Strings, Vol. 1 and 2 (Ft. Lauderdale, FL: The FJH Music Company, Inc., 2008).

Rolland, Paul. The Teaching of Action in String Playing (Van Nuys, CA: Alfred Music Publishing, 2000).

DVD: peterrolland@paulrolland.net Brenda Mitchell is Associate Professor of Music at Miami University. She teaches music education courses, and is the Director of Graduate Studies for the Dept. of Music. Her public school teaching experience included eleven years in Arizona in the Mesa Public Schools, and her research interests center on string pedagogy for young students. Publications include Lessons in Performance for Beginning and Developing Strings and New Directions for Strings (Books One and Two), and A Scale in Time.

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DepARtment oF music go.uDAyton.eDu/music/ 937-229-3936

Announcing new FAculty Appointments Dr. Minnita Daniel-Cox Assistant professor of voice Dr. Ryu-Kyung Kim Lecturer in voice Jeff Lehman Lecturer in music and director of the Pride of Dayton Marching Band Dr. Randall Wolfe Adjunct instructor in piano Matt Anklan Adjunct instructor in jazz brass and director of the Flyer Lab Band

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MUSIC MASTERCLASS VOICE The Vocal Athlete’s Beginning Warm-Up Dr. Jay White; Associate Professor of Voice at Kent State University. Dr. White will present a session at the 2014 Professional Development Conference

OUR STUDENTS AS VOCAL ATHLETES As I enter my eleventh year of teaching at the university level, I am convinced more than ever that the craft of singing requires the same level of physical stamina, concentration, and highly balanced coordination as most major sports. Just as David Beckham is an elite athlete during a match, we singers are just the same during a performance.

Many of our voice students have experienced organized sports in some manner. They understand the concept of warming up, stretching, technical drills, practicing maneuvers, etc. It makes sense that in order to improve and excel at a well-balanced and coordinated physical set of motions, one must be conditioned. The same holds true for singing, whether solo or choral.

DROP AND GIVE ME 200!

Vocalization is something that most of us take for granted. Within moments of waking, we begin to phonate. We may vocalize a yawn, greet our family with a groggy “Good morning,” or chastise the dog for tearing up yet another slipper. Consider this: when the average female phonates for speaking, her vocal folds (or cords) vibrate about 260 times per second (C4 = 261.6Hz). How many times have you rolled out of bed, dropped to the floor, and immediately attempted 200 pushups? Just as a sprinter needs to prime his muscles for the strenuous task of running, we singers OCTOBER/NOVEMBER 2013

need to be mindful of preparing our vocal muscles for a day of work. With this in mind, here are a couple of simple exercises that will help you and your students warm up the voice.

MMM-MMM-GOOD! Soon after waking, begin to lightly hum on a pitch that feels most comfortable, being sure to keep your lips gentle. The goal is to gently massage the vocal folds by getting them to vibrate easily and freely.

Once you have hummed for a couple of minutes on that pitch, continue humming on small glides from that pitch to a few pitches above and below, like a quiet siren. Here, bring into your awareness to where you feel the focus of tone in your mouth. Begin to focus that tone toward your lips, keeping your tongue low and released, and allow your siren to grow wider in range. This forward focus of tone throughout our range is an essential part of healthy, efficient singing.

Do these sirens for about two minutes.

RASPBERRY DELIGHT Once you have glided this hum between comfortable low and high pitches, do the same with lip trills (raspberries) or on a “z” buzz. Focus your attention on the steady flow of your breath. Allow your lips (or “z”) to be the only barrier to the flow of breath and sound. This should feel easy and free. This is not a contest so there is no need to attempt your highest 59

pitches. Men should allow themselves to use falsetto and women should do the same in their chest voices.

Again, do this type of vocalizing for about two minutes.

If your workday begins with a heavy amount of talking or vocal demonstrating, you may need to go the next step of vocalizing on words or syllables.

Speaking words with “m” and “n” will help facilitate more forward focus (i.e. money, marmalade, nanny, nimble) while singing open vowels, such as ah and oh, will help raise the soft palate and release the larynx for more demanding singing.

JUST A START These few minutes of conscious vocalization are just a small but vital part of our daily vocal regimen and can be used as a gentle reminder for our students

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at the beginning of their rehearsal or lesson periods.

In a given day, we all may vocalize for hours. Just like our elite athletes, we must continue to focus our attention on maintaining strong, healthy voices.

Dr. Jay White is on the vocal faculty of Kent State University where he balances his studio with vocal performance, music education, and music theatre majors. A life-long professional chorister, Jay spent eight years with Chanticleer and performs regularly with professional choral ensembles around the country. Having presented at the 2013 OMEA Professional Development Conference on ways to achieve an ideal choral blend, Jay looks forward to continuing the conversation on the importance of vocal health at the 2104 conference.

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ADJUDICATED EVENTS Adjudicated Events Update Scott Eversdyke; Adjudicated Events Chair

NEW ROLES ON THE ADJUDICATED EVENTS COMMITTEE The 2013-2014 school year brings with it many changes in education. The Adjudicated Events Committee also has some changes. Many roles have changed on the AE Committee and we welcome Jeanne Wohlgamuth as the Creative Events Chair and Jay Wardeska as the Junior High Affairs Chair. Please take a look at the AE Committee page of the OMEA website on the member portal for more information about the new roles. I would like to say a big “thank you” to Dr. Ann Usher and Michael Maynard for their service to the AE Committee and OMEA. They will be greatly missed on the AE Committee. Finally, I would like to thank Brian Stevens for his excellent leadership and diligent service as the AE Chair for the past two years!

ONLINE REGISTRATION Once again all events will be utilizing an online registration process. There may be a few tweaks to the process to streamline things so please make sure that you follow directions. Also, please note that all registration deadlines will be enforced. Late entries will NOT be accepted so please make sure you register early and carefully.

GUITAR ADJUDICATION The AE Committee has been working to develop plans for the addition of Classical Guitar Solo Events.

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This comes as OMEA has found we have a large number of guitar programs being taught by our members. Our Instrumental Advisor, Gayley Hautzenroeder, has been working non-stop to get two pilot sites up and ready for the Winter 2014 AE schedule. Districts 9 and 12 will be hosting those two events which include event number 79.1 (Classical Guitar Solo) and 79.2 (Pick-Style Guitar Solo). The hope is that Guitar AE will be statewide for the Winter 2015 AE season. Please make sure that you read Gayley’s article in this edition of TRIAD for more details.

RULEBOOK The AE Committee is constantly updating the rules and regulations for all events in order to keep up with technology and any other problems or changes that occur. I remember one of my first AE Committee meetings where Pat Meeks said that she reads the rule book every year before she attends events. I thought that I knew everything, but decided that if Pat reads it more than once, I should try. I couldn’t believe how many little details that I had forgotten about. I would encourage everyone to download the rulebook from the member portal of the website and read it. I bet you find something that you didn’t know or had forgotten.

This year there are a few changes to the rules for Marching Band Adjudicated Events. Please make sure that you read the Marching Band Rulebook, available in the member portal of the OMEA website.

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SOLO AND ENSEMBLE ROLLING REVISION UPDATE We will have updated lists for Percussion Ensembles and String Ensembles in 2014. Please remember to download the new lists from the website and print them out. The rolling revision is an ongoing process.

The timeline for future events is listed below: Event Takes Effect: Percussion Ensembles, String Ensembles Woodwind Solos, Vocal Solos Percussion, Brass and String Solos

Winter 2014 Winter 2015 Winter 2016

LARGE GROUP LIST UPDATE Committees met this summer to review and update the band, choir and orchestra lists. Many thanks go to Ray Walczuk, Mike Lisi, and Pam Theil for their hard work to get these committees together and lists updated. The lists are available on the OMEA website.

OCTOBER/NOVEMBER 2013

AE SESSIONS AT THE 2014 OMEA CONFERENCE There will be many sessions offered by the AE Committee at the 2014 OMEA Professional Development Conference in Columbus. These sessions are a great way to learn more about adjudicated events. Each session gives the opportunity for you to ask questions to help you prepare for adjudicated events. Members of the AE Committee are always open to questions. There will be sessions for the new teacher, adjudicators, directors, and site chairs. The adjudicator sessions at the conference will focus on adjudicating across the classes at High School Solo & Ensemble. Make sure you check the conference schedule to find the sessions that best fit your needs.

I look forward to serving as your AE Chair for the next two years and wish you all a great start to the school year!

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ADJUDICATED EVENTS Adding Guitar Solos to High School Adjudicated Events Gayley Hautzenroeder; OMEA Adjudicated Events Committee, Instrumental Advisor

GRAB YOUR FOOTSTOOLS! FIND YOUR PICKS! GET READY FOR SOLO GUITAR ADJUDICATED EVENTS! Winter of 2014 will see two pilot sites for the first of Adjudicated Events No. 79.1 (Classical Guitar Solo) and No. 79.2 (Pick-Style Guitar Solo). After many months of preparation, we are planning two pilot for Guitar Solos in Districts 9 and 12 in 2014, with the hope of establishing Guitar Solo AE throughout the entire state for winter of 2015. The Adjudicated Events Committee and Solo Guitar Committee have established lists of Guitar and Pick-Style Guitar Solos, worked through the rules, made a few adjustments Guitar Solos will require, and established scales that are acceptable for both public school and studio students in all three classifications.

I would like to thank the esteemed members of the Guitar Committee who have given a great deal of their time to help establish our lists, required scales, and enlightened both me and the Adjudicated Events Committee on the complexities of Guitar playing and solo literature. OMEA appreciates the time and efforts of Jim McCutcheon, Clare Callahan, Lewis Charles, Rod Stucky, Lee Ann Kinner, Amy Thompson, Brett

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Baker, Glen Greenwood, and Bill Gorell. They have been an enormous resource this past year and have helped to make these events realistic for the public and private guitar teachers of Ohio.

Our hope is to have the Classical and Pick-Style Guitar Solo Lists on the OMEA website as soon as we confirm catalog numbers and current publishers.

This list will provide teachers with the opportunity to develop instructional goals with these solos and scales in mind, graduating in difficulty as we do for all Adjudicated Events. The timing of high school adjudicated events will be at the end of first semester or the beginning of second semester. Our hope is for students who play first semester and throughout the year in high school to participate at the same venue as their vocal and other instrumental peers. As with Piano Solos, Harp Solos, etc., the Guitar Solos will be entered through their high school music directors. If a school does not have a director who is an OMEA member, guitar teachers who are OMEA members will be able to send their students as members of their studio school. Home-schooled students will be registered in the same way as other home-schooled students, with a parent acting as the administrator and a private teacher as a member of OMEA.

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BELOW ARE THE REQUIRED SCALES FOR BOTH GUITAR EVENT NO. 79.1, CLASSICAL GUITAR SOLO AND EVENT NO. 79.2, PICK-STYLE GUITAR SOLO: Class C: ONE Octave of C Major – beginning on 5th string, 3rd finger, 3rd fret

ONE Octave of G Major – beginning

on 6th string, 3rd finger, 3rd fret

ONE Octave of D Major – beginning

on Open 4th String Class B: ONE Octave of C Major – beginning

on 5th String, 2nd finger, 3rd Fret

TWO Octaves of G Major – beginning

on 6th String, 1st finger, 3rd fret

ONE Octave of D Major – beginning

on Open 4th String Class A: TWO Octaves of A Major – Beginning

on 6th String, 2nd finger, 5th fret

TWO Octaves of G Major – Beginning

on 6th String, 1st finger, 3rd fret

TWO Octaves of F Major – Beginning

on 6th String, 1st finger, 1st fret

(Note: All required scales must be memorized)

1.

2.

3.

4.

5.

6.

7.

The list of solo music will be available this Fall for you to begin planning for your students’ participation in Districts 9 and 12. This will also help teachers prepare their students for adjudicated guitar events beginning statewide in 2015. We hope you will begin planning for your guitar students’ participation in Solo-Ensemble Adjudicated Events and take advantage of this opportunity for your guitar students. It is the hope of OMEA to encompass as many young people in music as possible, and provide a complete musical experience for students and teachers!

THERE ARE A FEW RULES THAT ARE FOR GUITAR ONLY: Amplifiers WILL be allowed for Pick-Style Guitar Solos ONLY. Volume in the performance room is to be acceptable for the piece being performed, the other rooms around the Performance Stage, and will be controlled by the Adjudicator in the Room. Students should provide Extension cords for their amplifier.

Amplifiers MAY NOT be plugged in while in the Warm-Up Room!

As with all instrumental Solos, scores must have the measures numbered.

Students may perform in Festival Class (no rating, and receive just the adjudicator’s comments.

The Required List does not have music that re- quires improvisation. NO IMPROVISATION will be allowed for Guitar Solo Events.

Classical Guitar Solo Students will need to provide their own footstools.

Solo fees will remain the same as other High School Solo Events.

OCTOBER/NOVEMBER 2013

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ADJUDICATED EVENTS Vocal Affairs Michael K. Lisi; OMEA Vocal Affairs Chair

As we begin this new academic year, I hope everyone has had a relaxing summer and is looking forward to the challenges that lie ahead. Please plan to make Solo & Ensemble, Large Group, and Creative Adjudicated Events a part of your academic plan to enrich the music education of all your students. Your Adjudicated Events Committee continues to strive to make every event one that will benefit students and teachers in the quest to provide a comprehensive music education.

As we move into this new era of teacher accountability, the writing of SLOs, and formal evaluation of our students based on curriculum standards, participation in Solo and Ensemble, Large Group, and Creative Adjudicated Events can serve as an integral part of this new educational structure. Although individual student evaluation will make up a given percentage of a teacher’s annual evaluation, it will not be the only evaluative measure. The opportunity exists to use ratings, adjudicator comments, and any trend data as supportive information on your annual evaluation. It is important to be proactive in providing your administration with this information as well as helping to guide them toward what constitutes authentic assessment in a choral classroom.

RULES, REGULATIONS, AND PROCEDURES Sight-Reading It is important that the directors be familiar 66

with the requirements and rules of participation for all adjudicated events. I received comments from sight-reading adjudicators concerning directors who were confused about the process of sight-reading during Large Group AE participation. For a detailed description of sight-reading procedures, see the Rules and Regulations for OMEA Adjudicated Events, pp. 24-26. A director may not request that the adjudicator allow an exception to the rules as written. New teachers may also consult the New Teacher Guide, http://portal.omea-ohio.org/AEV__ UI.a5w.

I welcome any and all feedback concerning the sight-reading compositions. This past year, I only received positive feedback concerning the pieces composed for choral sightreading and the relative difficulty for each class. Those interested in music for sight-reading practice should visit CM Shearer’s website (www.cmspublications.com) to purchase past district and state sight-reading compositions.

These are inexpensive and a great way to prepare for Large Group AE sight-reading.

Braille/Enlarged Scores Teachers can request a Braille copy of a sight-reading line for a student who is legally blind or who has a serious visual handicap. This request should be submitted to the site chair by the deadline for Large Group AE district and state registration and TRIAD

should include the student name, school, class which the group has entered and the part the student will be singing. Any requests for enlarged copies must be made according to the same guidelines and deadlines.

Required and Select Literature Committees that select music for the required lists spend a great deal of time deciding what to replace and which pieces to include.

With the advent of online registration, we are able to provide these committees with information regarding performance information for the past years. This additional information, including the number of times a piece has been performed, will be used to determine which pieces should be replaced, as opposed to considering only the amount of time a piece has been on the list.

Please remember that it is the director’s responsibility to make inquiries regarding issues and to gain an answer to any questions that might affect adjudication in terms of score editions, markings, etc. I will provide an email response that should then be attached to the piece in question, serving as a ruling on what is to be allowed by the adjudicator.

FEEDBACK ON ADJUDICATION I would like to encourage all who attend adjudicated events to provide feedback using the Directors Report On Adjudicators (DROA) for the adjudicators that hear your students and groups.

As an adjudicator, I hear students OCTOBER/NOVEMBER 2013

from many schools but receive evaluation from two or three directors at most. Often, members of the AE Committee get more feedback on adjudication through informal conversations with colleagues. The DROA document should be used for providing positive feedback as well as for voicing concerns about an adjudication experience.

There has always been a stigma attached to the use of this document, as directors are hesitant to provide a rating of III for an adjudicator. But, in the case of the SD recording, use of a III rating to accompany comments about the recording quality will be seen as helpful to adjudicators who might need to make minor adjustments to their recorders. Sometimes recordings are affected by proximity to the performing group, where the piano is located, the acoustic nature of the auditorium, and other exogenous variables. I have always wondered about the quality of my SD recordings and whether the performances and comments were audible. Having spoken to other adjudicators, I know many feel the same as I. Please take the time to provide feedback for your adjudicators.

Please remember that the Adjudicated Events Committee is here to serve you and your students who attend the many OMEA events throughout the year. If you have any questions, suggestions, or concerns, please do not hesitate to contact me or any other member of the Adjudicated Events Committee.

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ADJUDICATED EVENTS Orchestra Affairs Pamela Thiel; OMEA Orchestra Affairs Chair

Welcome back to school, Orchestra Directors.

I hope that you are off to an energetic start to your school year! As always, the Adjudicated Events Committee has been working hard to assure you and your students of a successful AE experience. We strongly believe that continued success at Adjudicated Events contributes to the overall growth of our school musicians.

I am very pleased to tell you that revisions to our Solo and Ensemble list for String Ensembles have been completed and are ready for this S & E season.

You will find many exciting and worthy additions to our list. I encourage you to explore our new additions

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and begin to add them to your library. The teams of people who worked to make these revisions happen deserve many thanks. These leaders gave many hours over the past year to choose our new literature, and I am confident that you will be pleased with their work. Thank you to Diana Anderson, Caitlin Bartholic, Erin Brasse, Elizabeth Cranston, Steve Cocchiola, Brian Frey, Sarah Gibson, Mark Sholl, Molly Stuckey, Michael Smith, Megan Urich, Jonathan Welch, Doug Wright, Lori Wright, Ed Zunic, and Gretchen Zunic.

As you are thinking ahead to your Solo and Ensemble Season, be reminded that you and your students are required to have all of the appropriate scores.

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In addition to solos, this rule applies to all ensembles, including duets. That is, if you have a student playing a violin/viola duet, both the violin and viola parts must be shown in the same score. If your students are performing a piece that does not have a score, it is up to you to create one, preferably with a notation software program, but by hand will be fine as well. Directors continue to misunderstand this rule, so plan ahead carefully. Also be aware that we can only accept a score from the approved edition. No scores from the internet will be accepted.

Are you planning your Large Group AE program yet? I am especially pleased with this year’s required list. There are some wonderful new pieces that we think you and your students will enjoy. Keep a close eye on the JH String B and C list; a few of our pieces from previous years have changed classes, so be on the look out for those changes. Thank you to Elizabeth Cranston, Stephen Domka, Gayley Hautzenroeder, Brian Nitschke, Angela Santangelo, and Gretchen Zunic for their expert work in choosing this year’s

list. Of course, our work would never be complete without Dan Clark from Stanton’s—thank you, Dan. Many of us are already looking forward to the 2014 OMEA Professional Development Conference in Columbus. Our Orchestra AE Session will focus on Harp Adjudications. If you are an adjudicator, when a harpist comes into your room do you say to yourself “now what?” Although harp is indeed a stringed instrument, very often we as string players are ill prepared to give appropriate feedback. We will spend our session discussing basic harp technic, what to look and listen for so that we can provide our membership with a meaningful experience. I hope to see you there.

The longer I serve as Orchestra Affairs Chair, the more I am impressed by the quality of string teaching in Ohio. We are lucky indeed to be part of such a vibrant community. If there is anything I can do to help you in your preparations for the Adjudicated Events season, please do not hesitate to ask. See you in Columbus!

Be heard.

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OCTOBER/NOVEMBER 2013

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2013-2014 Audition Dates on-campus

Fri., Nov. 15 Sat., Nov. 16 Fri., Jan. 17 Sat., Jan. 18

Fri., Feb. 7 Sat., Feb. 8 Fri., Feb. 14 Sat., Feb. 15

At Baldwin Wallace, you may study directly with The Cleveland Orchestra BW Faculty in bassoon, clarinet, double bass, horn, oboe, trombone, trumpet and tuba.

Degree offerings BM: performance, therapy, composition, theory, history & literature, music theatre; BME: music education; BA.

Fri., Feb. 28 Sat., Mar. 1

Music Theatre Instrumental, Keyboard, Voice, Music Theatre Music Theatre Instrumental, Keyboard, Voice, Music Theatre Music Theatre Music Theatre Music Theatre Instrumental, Keyboard, Voice, Music Theatre Instrumental, Keyboard, Voice Instrumental, Keyboard, Voice

For instrumentalists only, you may upload video recordings at digitalaudition.bw.edu.

oFF-campus

Nov. 21-24, 2013 Dallas, Texas Jan. 25, 2014 Interlochen, Michigan

music@bw.edu 440-826-2368 866-BW-MUSIC www.bw.edu/conservatory Baldwin Wallace University does not discriminate on the basis of race, creed, age, disability, national origin, gender or sexual orientation in the administration of any policies or programs.

ADJUDICATED EVENTS 2013-2014 Adjudicated Events Information Max Treier; OMEA Adjudication Coordinator

ADJUDICATORS I would like to provide you with a brief summary of the 2013 Adjudicated Events. According to the records of this office, there were a total of 1109 adjudicator assignments made in 2013, 32 more assignments than in 2012. A total of 446 adjudicators were on the active list in 2013, and 405 who were actually available. This means that the average number of assignments per adjudicator is again 2.7. A number of Vocal/Choir adjudicators continue to accept 7 or more assignments.

The total number of assignments made for each event weekend was again very similar to the previous year. There was small decrease of Jr. High/Middle School solo & ensemble entries and an increase of Jr. High/Middle School Large Group entries. There was very little change in the number of State Choir, Band and Orchestra entries.

There were a total of 13 new adjudicators and 6 Large Group adjudicators approved by the Adjudicated Events committee last year. There are now 452 approved OMEA adjudicators.

Availability Forms and Assignments All active adjudicators should have already received the Directors and Chairs ratings, and should have updated the membership information and completed the Availability by logging into the “OMEA OCTOBER/NOVEMBER 2013

Admin Portal”. After October 1st you may add Availability but you may not remove an Available date from the Portal. Please contact this office by email if you need to remove a date. I hope that you have made yourself available for at least 2 high school and 1 jr. high/middle school Solo & Ensemble dates. The high school dates for 2014 are January 18, January 25, and February 1 and the jr. high/middle school dates are March 29 and April 5. Of course, there is always a need for HS Large Group event adjudicators. Due to the fact that the HS SE events are earlier this year it is my goal to release the adjudicator’s assignments to the portal by November 25th. Adjudicators should check the “Admin Portal” and accept or decline their assignments the last week of November.

Digital Recorders I am still receiving reports about problems with the SD recording. Please practice with your machine to make sure that your verbal comments will be recorded and are audible. Balancing the comments with the performance seems to be the main problem with Bands & Orchestras.

Seminars The AE Committee and I were again impressed with the number of adjudicators and interested directors who attended the Adjudication Seminars at the 71

Professional Conference and the Seminars offered in Districts 3, 6 and 8. Please be assured that we will continue to make a special effort to provide pertinent and helpful information at our Seminars. At this time I am planning to present a Seminar in Districts 1, 5, 6 in addition to those presented at the OMEA Professional Conference. There will be District 6 Seminars presented on November 16th at Kent State U. and December 7th at the U. of Akron. There will again be special interactive seminars for Solo & Ensemble adjudicators presented at the 2014 OMEA Conference.

EVENT CHAIRS In order for the members of the AE Committee and this office to be effective, it is imperative that District Presidents, Region Chairs and Event Chairs communicate with this office, the Chair of the AE Committee, and John Purdy, if there are any changes of date or additions of adjudicated events.

Correcting and Updating Event Information All District Event Chairs should have received a mailing from this office the first part of September containing an information letter with instructions about how to update your information and request adjudicators for your event using the OMEA website.

If for some reason you are planning on chairing an event and have not received this mailing, please contact me by email (adjudications_coordinator@omeaohio.org). I cannot begin assigning adjudicators until I have information from all of the District events. If you have received the September mailing by mistake, please forward it to the correct Event Chair or District President, or return it to me. Also, please make sure the website listing for your District events is correct.

This is especially important for the JH/MS Solo & Ensemble events due to the availability of conflict dates.

Adjudicator Assignments, Contracts and Scheduling It is my goal to make the list/data of Adjudicators available to the Event Chairs one or two days after the entry deadline. This will be in the “Admin Portal� and can be downloaded directly into your Management program.

Although most of the 2013 Event Chairs commu72

nicated with the Adjudicators and me in a timely manner, it was apparent that there are still a few Chairs who did not contact the adjudicators immediately following the receipt of the list. It is very important that the adjudicators receive a mailing/message 3 weeks prior to the event.

I want to encourage all Event Chairs, especially Solo & Ensemble Chairs, to begin the scheduling process very soon after receiving the Adjudicators Data.

This enables me to have sufficient time to notify the adjudicators of the changes and in many instances allows me to move a canceled adjudicator to another event. Event chairs must contact me before deciding which adjudicators to cancel.

Chairs of Solo & Ensemble events need to schedule the adjudicators in their primary area of expertise.

If an adjudicator has more than one area listed, (i.e.)

BR/PR or VO/WW, he or she should be scheduled with the first area as much as possible. When there are situations that require scheduling in both areas, the adjudicator and this office should be advised.

Solo and ensemble chairs should avoid scheduling events past 4:30 pm if at all possible. Also, events must not be transferred from one adjudicator to another after the schedule has been published. This should be considered only in case of an emergency, such as an adjudicator becoming ill during the event.

All event chairs need to send me the completed Form S, and a Recap of the ratings following the event. Please follow the instructions provided in the Management programs.

DIRECTORS Quality of Adjudicators I have now been the Adjudication Coordinator for fourteen years and I am again reminded that the quality and professionalism of OMEA Adjudicators is absolutely outstanding. I want to remind the Directors that all of our adjudicators work very hard to provide the students with an evaluation that is accurate and helpful.

Adjudicator Evaluation Form I want to thank the Directors who completed and sent the Directors Report On Adjudicators (DROA) form. The adjudicators will receive a summary of TRIAD

Email music@muskingum.edu contact this office for the requirements and procethe ratings and excerpts of the comments in the fall mailing. Please provide positive comments as well as negative comments. If a director is giving an adjudicator a “III” rating, a copy of the comment sheet and verbal comments (if applicable) must be included.

When a blank SD card is received it is not necessary to send this office the SD card. If you do not receive this DROA form, please contact the Event Chair.

dures. There is a definite need for present Solo & Ensemble adjudicators to apply to be Large Group adjudicators and for present Large Group adjudicators to do sight-reading. Please contact this office about the procedure for either area of adjudication.

Website http://www.muskingum.edu/dept/music

Thank you!

I want to take this opportunity to thank the Adjudicators, Event Chairs and the members of the AE Committee for their continued efforts to make the OMEA Adjudicated Events a positive and educational experience for thousands of student musicians and their directors. It is definitely a pleasure and continues to be a pleasure to work with such great music educators. I am looking forward to again working with the membership of OMEA for the 2013-2014 school year.

www.facebook.com/MuskingumMusic

Rule Books and Solo & Ensemble Music Lists These are available on the OMEA website. Solo & Ensemble lists should be checked annually for updates and/or changes.

www.youtube.com/MuskingumMusic

Applications The AE Committee wants to encourage all capable directors and teachers to apply to become OMEA Adjudicators. Please refer to the OMEA web site or at

Muskingum University’s Department of Music offers the Bachelor of Arts degree in music and music education, as well as minors in music and musical theatre. With its six full-time and fourteen adjunct faculty, the Department is large enough to offer a variety of study and performance opportunities, yet small enough to ensure that the needs of individual students are consistently addressed.

Scholarship opportunities abound at Muskingum University. All Music Majors and Music Minors may audition for scholarship awards to pursue their course of study. Music Participants—those who join a major ensemble and take private lessons— can also receive scholarships to cover lesson fees.

Bachelor of Arts in Music Regardless of your academic major, Muskingum

has an Education ensemble for you! Students from across Bachelor of Arts in Music

campus participate in numerous vocal and Scholarship opportunities abound at Muskingum groups, some of which require an University. All Music Majors and Music Minorsinstrumental may The Southeastern Ohio Symphony audition for scholarship awards to pursue audition. their (SEOSO), Muskingum Valley Symphonic course of study. Music Participants—those Orchestra who Winds, and Muskingum Choral Society represent join a major ensemble and take private lessons— partnerships between the university, the New can also receive scholarships to cover lesson fees.

Concord community, and the surrounding region.

An accredited institutional member of the Auditions are typically conducted National Association of Schools of Music since in January and February, but may be scheduled 1937, the Department of Music is housed in Otto throughout the www.muskingum.edu/dept/music year. one Forofconvenience, students who have been and Fran Walter Hall, the newest academic www.youtube.com/MuskingumMusic Wind Ensemble to Scholarship buildings at invited Muskingum, which Days boastsby the Office of Admission are encouraged to audition at that “Marching Muskies” Marching Band www.facebook.com/MuskingumMusic acoustically designed classrooms and rehearsal time.

Jazz Ensemble facilities, a state-of-the-art music technology lab, skingum and spacious studios and practice rooms. The Chamber Ensembles m across Scholarships available to majors and non-majors Department presents over fifty concerts and Southeastern Ohio Symphony Orchestra (SEOSO) cal and recitals each year, both on and off campus.

Muskingum University’s Department of Music Muskingum Valley Symphonic Winds quire an offers the Bachelor of Arts degree in music and mphony music education, as well as minors in music and mphonic musical theatre. With its six full-time and epresent Concert Choir fourteen adjunct faculty, the Department is large he New Chamber Singers enough to offer a variety of study and region.

Men’s Chorus performance opportunities, yet small enough to ensure that the needs of individual students are Women’s Chorus consistently addressed.

Music Theatre Choral Society d

SEOSO) ds

Auditions are typically conducted in January and February, but may be scheduled throughout the year. For convenience, students who have been invited to Scholarship Days by the Office of Admission are encouraged to audition at that time.

at

Ensembles

Concert Choir Chamber Singers Music Theatre Choral Society Wind Ensemble Jazz Ensemble Marching Band Muskingum Valley Symphonic Winds Southeastern Ohio Symphony Orchestra

Scholarship opportunities abound at Muskingum University. All Music Majors and Music Minors may audition for scholarship awards to pursue their course of study. Music Participants—those who join a major ensemble and take private lessons— can also receive scholarships to cover lesson fees.

Auditions are typically conducted in January and February, but may be scheduled throughout the year. For convenience, students who have been invited to Scholarship Days by the Office of Admission are encouraged to audition at that time.

A view of Otto and Fran Walter Hall from across the lake

OCTOBER/NOVEMBER 2013

Regardless of your academic major, Muskingum has an ensemble for you! Students from across campus participate in numerous vocal and instrumental groups, some of which require an audition. The Southeastern Ohio Symphony

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The Heidelberg advantage • • • •

One of Ohio’s most reasonably priced private college music schools.

BA/BS music programs allow double majors with most other programs.

Recital performance opportunities (not just performance majors).

Music majors have no added costs for lessons (saving thousands of dollars).

Private lessons • Free introductory lesson with an applied teacher when you visit campus.

• 4 years of private lessons at no cost: save thousands of dollars!

• All students receive private lessons, plus chamber music opportunities.

Ensembles • No ensemble scheduling conflicts; easily participate in multiple experiences.

• Ensembles and private teaching by caring, professional faculty.

Audition Dates Friday, November 8, 2013* Monday, January 20, 2014 Monday, February 17, 2014 Saturday, February 22, 2014 Saturday, March 22, 2014 or by appointment

* Music Preview Day will be held Friday, November 8 from 9am-2pm.

Sing with the Heidelberg Concert Choir and bring your instrument to play with the Heidelberg Symphonic Band.

Scholarships

Scholarships available up to $20,000 for music majors in all performance areas. For full scholarship consideration, students must audition before March 1, 2014.

For more information about scholarships, or to complete an audition form, see our website at www.heidelberg.edu/music

For more information, please contact: Dr. John E. Owen Director, School of Music jowen@heidelberg.edu 419-448-2073

HIGHER EDUCATION NEWS BALDWIN WALLACE UNIVERSITY The BW Conservatory congratulates the over 750 participants of its 2013 summer music programs. The Conservatory was full of music and learning as we welcomed school-aged students to our middle school String, Piano, Band and Music Theatre camps and high school Conservatory Summer Intensive and Music Theatre Overtures programs. Adults came to participate in the Wagner Intensive, cabaret master classes, and professional development courses for music educators.

The BW Conservatory’s fall calendar is full of exciting events. In partnership with Analog Arts, the Iron Composer Competition returns to BW on Friday, September 6; join us at 8:00 pm either in-person or via WCLV’s live broadcast to hear the contestants’ compositions. Deborah Barrett Price ’84, founder and artistic director of the Chamber Music Connection in Columbus, will be recognized as the 2013 Conservatory Alumni Achievement Award winner September 27 and 28. The “Keyboard Encounter” workshop on Saturday, October 5, will feature BW keyboard faculty and Francisco Ybarra ’99, founder of Chicago’s New Music School, presenting master classes and other sessions culminating with an 8:00 pm concert entitled “Curious Encounters of the Keyboard Kind.” The 2013 Focus Festival of Contemporary Music will highlight the music of Christopher Theofanidis; the week-long visit of Theofanidis culminates in a large ensembles concert on Saturday, November 2, at 8 pm and a chamber music recital on Sunday, November 3, at 4 pm.

Long-time music director of the BW Symphony Orchestra, Symphonic Wind Ensemble and Bach Festival Dwight Oltman has announced his plans to retire at the conclusion of the 2013-14 academic year. Oltman has previously served as music director of Cleveland Ballet, Ballet San Jose and Ohio Chamber Orchestra.

There will be multiple opportunities to celebrate Professor Oltman in the coming year including an invit75

ed performance of the BW Symphony Orchestra at the 2014 OMEA Conference.

BLUFFTON UNIVERSITY Dr. Crystal Sellers Battle has introduced gospel music to Bluffton University, where she formed a campus-community Gospel Choir three years ago. This month, she’s doing the same thing at Hesston (Kan.) College. The assistant professor of music is taking Bluffton’s choir to Kansas Oct. 24-28 for an event similar to one hosted by Bluffton in November 2011. It will include practice and performance of gospel music with a Hesston choir and interested community members, plus a series of conversations intended to teach about gospel and spirituals.

Sellers Battle first discussed the possibility of a joint effort with Hesston representatives at a Mennonite higher education conference last August. Hesston, a two-year college, is affiliated with Mennonite Church USA, as is Bluffton. They have received financial assistance for the event from the Marpeck Fund, which supports cooperative projects between Mennonite institutions. The project represents an opportunity for her choir to sing with others “rather than singing at them,” Sellers Battle says, and for those who are interested at Hesston to learn the gospel style “from folks who have been doing it for a while.”

The culminating concert is scheduled for Sunday evening, Oct. 27, in Hesston Mennonite Church. The Bluffton choir will also sing the following morning at a campus chapel service.

Dr. Roy Couch has joined the Bluffton music faculty as a visiting assistant professor. In addition to teaching, Couch is conducting Bluffton’s concert band.

He previously taught music for five years at Cameron University in Lawton, Okla. His degrees are in tuba performance, including a bachelor’s degree from Kent State University, a master’s degree from the University of Akron and a D.M.A. from the University of North Texas. He has been a member of the Allen (Texas) Philharmonic Symphony Orchestra and the Firelands Symphony Orchestra in Sandusky, Ohio.

CASE WESTERN RESERVE UNIVERSITY The Case Western Reserve University Department of Music welcomes Dr. David Ake as Professor of Mu76

sicology and Department Chair! Active as both a music scholar and a jazz pianist, Dr. Ake authored the books Jazz Cultures and Jazz Matters and co-edited the essay collection Jazz/Not Jazz (with Charles Hiroshi Garrett and CWRU colleague Daniel Goldmark) for the University of California Press. Among his recording credits are the solo piano CD In Between (2005) and Bridges (2013) featuring Ralph Alessi, Scott Colley, Ravi Coltrane, Peter Epstein, and Mark Ferber, both available from Posi-Tone Records. A former music faculty member and Director of the School of the Arts at the University of Nevada, Reno, Dr. Ake holds a Ph.D. in musicology and an MA in ethnomusicology from UCLA, as well as degrees in jazz performance from the University of Miami and the California Institute of the Arts.

The CWRU Music Education Faculty is pleased to introduce our newest member, Dr. Nathan B. Kruse!

Dr. Kruse joins us as Associate Professor of Music Education and Coordinator of Graduate Studies in Music Education. Prior to his appointment at CWRU, Dr. Kruse served as a faculty member at the University of North Texas, where he taught instrumental methods courses, supervised student teachers, and taught graduate-level courses in qualitative research and sociology of music. Dr. Kruse’s research interests include adult music education, ethnographic traditions of community music, and school-university partnerships. He has presented numerous workshops at national and international conferences, and has been published in several research journals, including Contributions to Music Education. Dr. Kruse remains an active public school colleague as a conductor, clinician, and performer.

He earned a Ph.D. in music education from Michigan State University, a master’s degree from the University of New Mexico and a bachelor’s degree from Butler University.

COLUMBUS STATE COMMUNITY COLLEGE Columbus State Community College adjunct professor Rocco DiPietro had his music performed at the Urban Arts Space in July as part of the Marotta Hour, an electro-acoustic music series. DiPietro is known for his book “Dialogues with Boulez” and the work “Prison Dirges I,” composed for the Kronos String Quartet.

Columbus State Concert Band, under the direction of Thomas Lloyd, will perform several new works on TRIAD

SCHOOL OF MUSIC The Ohio State University School of Music is pleased to announce the permanent appointments of:

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Catherine Jarjisian, visiting professor and acting area head for music education Catherine Jarjisian

Kristina Caswell MacMullen

Kristina Caswell MacMullen, assistant professor and assistant director of choral activities Katherine Rohrer, assistant professor of voice

Jon Waters, director of marching and athletic bandsÂ

Fall Semester 2013 â—? Event Highlights

Clarinet Spectacular - Jazz Meets the Classics with Eddie Daniels November 9-10 Katherine Rohrer

Jon Waters

Contemporary Music Festival the music of Stephen Montague November 13-14 21st Annual Music Celebration Concert December 3Â

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For a full schedule of concerts and events visit music.osu.edu

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its November 5th fall concert. The first performance of the band version of “Urban Synthesis” by Everett N. Jones III will be featured. The Ohio premiere of David Avshalomov’s “Vignettes for Concert Band” is the result of a commission in which Columbus State joined with 26 other bands both here and abroad. The scoring applies the Inclusive/Expanded core instrumentation recommended for community bands in David Avshalomov’s Community Band Survey Online Scoring Survey Findings published in the Fall 2012 NBA and SCB Journals. The concert marks Thomas Lloyd’s fifteenth year as band director at Columbus State.

UNIVERSITY OF DAYTON The UD Department of Music welcomes our newest faculty members: Dr. Minnita Daniel-Cox, Assistant Professor, Voice; Dr. Ryu-Kyung Kim, Lecturer, Voice; Jeff Lehman, Lecturer, Music/Bands; Dr. Randall Wolfe, Adjunct Instructor, Piano; and Matt Anklan, Adjunct Instructor, Jazz Brass/Jazz Band.

The University of Dayton Chorale toured Austria and Germany from May 11-22, 2013. Led by Dr. Robert Jones, the thirty-singer ensemble performed concerts in St. Peter’s Church (Vienna), the Dom (Salzburg), Nicolai and St. Thomas Church (Leipzig), the abbeys of Melk (Austria) and Weltenburg (Bavaria), and the Berlin Cathedral.

Dr. Sharon Gratto, Department Chair, presented two sessions at the 2013 Mountain Lake Colloquium (VA), one on finding a higher education position and one on community engagement in pre-student teaching experiences. Her article on student teacher mentoring will be published in the next issue of the Mountain Lake Reader, an on-line journal.

Dr. Linda Hartley presented research on “High School Principal’s Attitudes Toward Large Music Ensembles” at the Society for Music Teacher Educators (Greensboro, NC). She also presented her research on “Lifelong Learning and the Music Education Curriculum” at the SMTE conference and the Music and Lifelong Learning Symposium (Columbia, SC).

Dr. Robert Jones performed in a vocal quintet from Lucy Simon’s new musical Dr. Zhivago, with the composer in attendance. In March, he attended the National ACDA Conference in Dallas with four students who sang in the Conducting Competition Chorus. In addi78

tion to presenting three public school clinics and conducting the Laudate Catholic Camp Choir, he served as artistic advisor for Phonic Uproar, a UD men’s ensemble that placed third in the A Cappella Sweepstakes Regional in Chicago.

Dr. Heather MacLachlan presented a paper titled “Writing Music in Burma’s Brave New World” at the University of Hong Kong’s Myanmar in Reform conference, held in June 2013.

UNIVERSITY OF MOUNT UNION Dr. Elaine Anderson produced a CD featuring the Mount Union string faculty, including Jerome Miskell, Jack Steward, Adam Sarata, Bohdan Subchak, and piano faculty, Maira Liliestedt and Kathy Reichenberger. For more information contact Elaine Anderson: andersem@mountunion.edu Dr. Grant W. Cook III conducted the NBC Honor Choir, the OMEA District 8 Honor Choir, the Williams County Honor Choir and the Wayne County Festival of Choirs. He also published “The Final American Residency of Beethoven’s Biographer Alexander Wheelock Thayer, Part I: April 1856 through June 1857” in the Winter 2012 issue of The Beethoven Journal.

Dr. Maira Liliestedt was awarded an Austin-Montgomery Grant to join the Midwest Keyboard Artists’ Consortium, which fosters exchange performances from piano faculty in the Midwest. She has planned an exchange with John Mortensen from Cedarville University.

Patricia Kroft managed the summer Canton Concert Band. Faculty members include: James Perone, Robin Tryon, Jayne Naragon, Patricia Olsson, John Olsson, Patricia Kroft, and Michael Willard. Six University of Mount Union alumni and three students were also members. Patricia Kroft also manages the Stark Co. Fair Band.

Robin Tryon was featured soloist with the Canton Concert Band this summer. She performed the Carnival of Venice under the direction of son, Mark Tryon, high school band director in Lake Local Schools. She performed on alto flute, C flute, and piccolo for a jazz feature with the same ensemble for the July 4th celebration at the McKinley Monument.

Dr. James Perone, Margaret Morgan Ramsey Professor in Music, was recently appointed Interim AssoTRIAD

ciate Dean of the Faculty for the University.

Dr. Patricia Boehm judged the Tuesday Musical Auditions for music education scholarships. She continues to serve as chair of the Music Department and interim chair of the Theatre Department.

Jane Page has joined the faculty as director of the Mount Union Alliance Chorale.

OHIO STATE UNIVERSITY The School of Music invites high school seniors to Practice Audition Day, Friday, October 18. Students will attend classes, meet with faculty, and participate in practice auditions to prepare for the audition process. Visit music.osu.edu.

The first Audition Day for the 2014-15 academic year will be Wednesday, December 4, 2013 Additional dates are January 17, 25, and February 1, 2014.

Applicants must apply to both the university and the School of Music and should apply early for scholarship consideration.

Fall semester highlights: The Ohio State Marching Band youth concert, November 8 and public concert, November 10 at Veterans Memorial; Contemporary Music Festival, featuring the music of composer and Ohio State alumnus Stephen Montague, November 13-16; 21st Annual Music Celebration Concerts, Tuesday, December 3 at 10 a.m. for grades 4–12 and 8 p.m. for the public. Details at music.osu.edu.

In April, the school presented Patricia Flowers, newly appointed dean of music at Florida State University, with the School of Music Distinguished Teaching Award and honored her 28-year commitment to Ohio State.

Catherine (Kitty) Jarjisian, former chair, University of Connecticut Music Department, has been appointed visiting professor and acting area head for Music Education at Ohio State.

The school also announces the appointments of Kristina Caswell MacMullen, assistant professor and assistant director of choral activities; A. Scott Parry, director of opera/lyric theater; Katherine Rohrer, assistant professor of voice; Jon Waters, Christopher Hoch, and Michael Smith, director, associate, and assistant directors of marching and athletic bands, respectively. New to our music education faculty are OCTOBER/NOVEMBER 2013

David Hedgecoth, instrumental; Andrea Ramsey, choral; and Jayne Wenner, general music education.

OHIO WESLEYAN UNIVERSITY This past spring break the OWU Chamber Choir, under the direction of Dr. Jason Hiester, traveled to Italy to perform and learn about the culture that generated much of the music they have been studying.

Their performances included music for a mass at St. Mark’s Basilica in Venice and a joint performance with Coro Polifonico Madrigalisti Senesi, a choral ensemble in Siena.

Dr. Nancy Gamso was awarded a Greater Lakes College Association New Directions Grant to study Cajun music and Jazz in Louisiana.

A re-dedication recital on the freshly renovated Rexford Keller Memorial Klais organ in OWU’s Gray Chapel will feature Alan Morrison from the Curtis Institute of Music on October 25-26, 2013.

The OWU Choral Art Ensemble under the direction of Dr. Jason Hiester, will perform John Rutter’s Magnificat with the Columbus Dance Theatre during their production of Match Girl, December 13-14, 2013.

The 50th Annual President’s High School Band Festival will be held, January 18th, 2014. The honor band is conducted by Dr. Larry Griffin and includes performances by the OWU jazz band and wind ensemble.

The new music ensemble, Conundrum, will offer a public concert featuring original works by students in Dr. Jennifer Jolley’s Composition studio on April 23rd, 2014.

The music department would like to wish a fond farewell to Marilyn Nims, mezzo soprano and voice professor at OWU since 1984 as she enters into retirement. Ms. Nims offered a final faculty recital this past spring titled, “Manners… the way we are,” featuring favorite works from her 30 year career with accompaniment provided by her husband, Robert Nims, a voice professor from OWU who retired in 2002.

Additional information about the department of music, our performance calendar, audition dates, festival registration, and what makes OWU “the opposite of ordinary” is available at music@owu.edu.

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WRIGHT STATE UNIVERSITY Dr. Jackson Leung, Professor of Piano and Conductor of the WSU Chamber Orchestra, guest conducted the Bourgas State Philharmonic in Bulgaria in May, where he conducted a program of orchestral works by Liszt and Dvořák’s Symphony No. 9, “From the New World.” Leung was a judge at the 31st Annual Macau Young Musicians’ Competition in June and July, the 2013 World Piano Competition in Cincinnati in July, and served as Chairman of the jury at the 3rd Macau-Asia Pacific Piano Competition in August. He also taught at the piano institute at the College-Conservatory of Music, Cincinnati in July.

This summer Dr. Shelley Jagow, Professor of Saxophone and Assistant Director of Bands, guest conducted the Regina Catholic Schools Honor Band, the Adena Band Day, the “Under the Elms” concert at Ohio University, and was a guest lecturer at Capital University for the Complete Band Director Workshop, and in Kansas at the Total Band Director Workshop. This fall Jagow will be conducting and presenting at Utah State University, San Francisco, Ontario, British Columbia, Alberta, District 11 OMEA, and the Midwest Clinic in Chicago.

WSU Professor of Flute, Dr. Christopher Chaffee was on the flute faculty at Interlochen Arts Camp for the second consecutive summer. This past spring Chaffee presented master classes and recitals at the University of Akron and West Virginia University and performed with WSU pianist Steven Aldredge at the National Flute Association Convention in August. Chaffee has also been the coordinating judge for the National Flute Association’s “Newly Published Music” competition.

Saturday, November 23rd will be the WSU Festival of Reeds. The event will include the Saxophone Quartet Festival, Clarinet Festival and the Double Reed Festival. Guest artists for the day will include the group Akropolis from Michigan. For more information about guests, vendors, and registration visit www.wright.edu/music/festivals XAVIER UNIVERSITY The Xavier University Department of Music and Theatre is pleased to announce the appointment of Dr. Richard Schnipke as Assistant Professor of Mu80

sic and Director of Music Education. He will teach courses in Music Education and Aural Skills, conduct the Women’s and Men’s Choruses, and supervise student teachers.

For the past four years, Dr. Schnipke has been on the faculty at Ohio State University where he taught courses in Choral Music Education, Choral Repertoire, and Vocal Pedagogy, has conducted the Women’s Glee Club, and supervised student teachers.

While under his direction the OSU Women’s Glee Club sang for conferences of the both the Ohio Music Education Association and the Ohio Choral Director’s Association and released two CDs. Dr. Schnipke has 11 years of experience as an Ohio public school vocal music educator. Throughout his career, high school and junior high choirs under his direction consistently received superior ratings at OMEA district and state adjudicated events.

Dr. Schnipke frequently serves as a guest conductor for various high school and junior high honor choirs throughout the state and is an adjudicator for the Ohio Music Education Association. He also is a board member for the Ohio Choral Directors Association and frequently serves on the Adjudicated Events Repertoire Selection Committee for OMEA. As a vocalist, Dr. Schnipke has performed professionally with Cincinnati Opera, Opera Columbus and the Vocal Arts Ensemble of Cincinnati.

Dr. Schnipke holds a B.M.E. from Bowling Green State University, as well an M.M. and a D.M.A. in conducting from The Ohio State University. He has also done graduate study at the University of Cincinnati College-Conservatory of Music. His teachers include Hilary Apfelstadt, James Gallagher, Earl Rivers, Stephen Coker, Richard Mathey and Mark Munson.

YOUNGSTOWN STATE UNIVERSITY The Dana School of Music is excited to welcome Dr. Alton Merrell to the faculty. Dr. Merrell graduated cum laude from Youngstown State University with a Bachelor of Music degree in Music Education/ Piano Performance where he was a Founces M. Luley scholarship recipient. He earned his Master of Music degree in Jazz Piano Performance from YSU graduating cum laude as a YSU Teaching Fellow, and earned a Doctor of Philosophy degree in Jazz Studies TRIAD

from the University of Pittsburgh as a K. Leroy Irvis Fellow. Dr. Merrell’s professional interests are in the domain of performing, composing, researching and teaching African American music, primarily within the jazz and gospel music genres. He is also committed to utilizing his piano performance and compositional skills for evangelical purposes by amalgamating traditional and contemporary jazz, gospel, R&B, and funk musical styles. His award winning CD “You’re the Reason,” embodies this notion.

Dr. Merrell’s performance experience in both jazz and gospel music genres has afforded him to share the stage with notable gospel artists Kim Burrell, Donnie McClurkin, Alvin Slaughter, Israel Houghton, Maurette Brown Clark, Martha Munizzi, and notable

jazz artists Benny Golson, Curtis Fuller, Jimmy Owens, Rufus Reed, Slide Hampton, Christian McBride, Jeff “Tain” Watts, and Sean Jones. Dr. Merrell has also performed his compositions internationally in Shanghai, Nanjing, and Hangzhou China, Singapore, and England. Dr. Merrell also has extensive experience as a music director for prominent churches and musical productions. As an educator, Dr. Merrell has taught at Youngstown State University, the University of Pittsburgh, Duquesne University, and the Academy at Covenant Church of Pittsburgh. He has also developed an international reputation as a jazz and gospel piano instructor teaching students on every continent through the use of innovative technology and teaching techniques.

ana School of Music Celebrating 145 years of great music-making Open House - Wednesday, Oct. 9, 2013 Scholarship Auditions Saturday, Dec. 7, 2013 Saturday, Feb. 15, 2014 Saturday, Mar. 1, 2014 For more information or to schedule an audition:

330-941-3636 www.ysu.edu

OCTOBER/NOVEMBER 2013

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IN MEMORIAM Fred J. Miller 1931-2012 A former Fairborn High School band director, founder of the Blackhawks Musical Corps and co-founder of the United States Twirling Association, Fred J. Miller was also the founder and CEO of Fred J. Miller, Inc. Miller was born in 1931 in Dayton, Ohio, the son of Orville and Betty Miller. He graduated in 1950 from Chaminade High School, Dayton, Ohio, where he was a drum major. He received a Bachelor of Science degree in Music Education from the University of Dayton, and then spent two years in the U.S. Army, with part of his service at the Pentagon.

He was the Director of Bands at Fairborn High School (FHS) from 1957-67, eventually serving as Music Supervisor for the district. He set higher standards for the music department and gave it a more sophisticated, professional and complex approach, staging elaborate Broadway shows and from 1958-67 directing the ten most popular musicals at the time.

Miller developed an outstanding marching band, making half time at football games a full-scale entertainment show with lively music and intricate drills provided by the 50-member Flyerette Corps, the first dance drill team to use flags as an enhancement to music and incorporating rifles and batons in their routines. They were one of the premiere twirling and dance drill teams in the area, maintaining their award-winning performances until 1980. Miller initiated the yearly Fairborn High School Invitational Band Festival, which drew 40-50 schools and was the largest band contest in Ohio.

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Considered the “Master Showman” of the pageantry circuit, Miller was the co-founder and first president of the United States Twirling Association (USTA) in 1950 and founder of the Ohio Color Guard Circuit (now the Mideast Performance Association). He was also the main force behind bringing the Winter Guard International Championships to Dayton.

He founded Miller’s Blackhawks Musical Corps, which consisted of horns, drums, baton twirlers, flags, and rifles and he established a record that is unequaled in the world by winning National Championships every year from 1956-68, with 22 National Twirling Corps titles. Before the Blackhawks disbanded in 1979, they were invited to perform in numerous national venues, including New York City’s Macy’s Thanksgiving Day Parade on six different occasions, the Cherry Blossom Festival in Washington, D.C. and the Tangerine Bowl in Orlando, Florida. The Corps traveled to Spain in 1974 and performed in several venues, including a “bullring.” Miller was also the Director of the Blackhawks Junior Musical Corps, which won 18 titles in 21 years, and the Blackhawks World Class award-winning Color Guards in Winter Guard International, 1977-94.

In 1959 Miller and his wife conducted the first Fred J. Miller Summer Clinic Program, which grew into a nine-week program in 21 locations and 19 states, for drum majors and band auxiliary units. These clinics are still being held each summer. They also established the “Bob Black Higher Education Scholarship,” which is awarded to three deserving young people each year.

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He was the President and CEO of Fred J. Miller, Inc. (FJM) (Centerville, Ohio), a family owned company he established with his wife. The company designs uniforms and accessories for marching bands, color guards, drum corps and other pageantry units around the world.

Miller was inducted into the Winter Guard International Hall of Fame in 1995, the USTA Hall of Fame in 2003, as an Honored Member of The Heritage Registry of Who’s Who, 2006-07 and honored at the 50th Anniversary Celebration of the United States Twirling Association in 2008. He received a special award as USTA’s Teacher of the Most Grand National Twirling Champions. The Millers have an endowment given each year by Bands of America and one at the Univer-

OCTOBER/NOVEMBER 2013

sity of Dayton for students in music education. The Miller Family also established the Fred J. Miller Music Education Fund because music and all its pageantry was Miller’s passion through his life.

Fred J. Miller and excellence are synonymous. His laugh was contagious and his ingenuity unparalleled.

He was creative, innovative, and an inspiration to all.

Miller passed away on August 3, 2012. He is survived by his wife of 53 years, Marlene; daughter Mary Lynn (Ted) Dorow; twin sons Mark (Pam) and Mike (Amy) Miller and eight grandchildren.

Adapted from a printed program for “Fairborn City Schools’s Hall of Honor enshrinement ceremony,” Friday, April 26, 2013.

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The Benefits of Membership in JECO

Bill Burns; JECO President

Hal Melia; JECO Secretary

Dan Nicora; JECO President-Elect 84

WHAT IS JECO? Jazz Education Connection of Ohio (JECO) is an OMEA-allied organization that sponsors several jazz clinics as well as the Intercollegiate Jazz Ensemble. We also promote jazz events across the great state of Ohio including festivals, concerts, and workshops. Most importantly, we provide resources for Jazz educators that include big band charts, songs for the elementary general music classroom, and pedagogy for teaching jazz improvisation. Perhaps you have attended one of our OMEA conference sessions or visited us in the exhibit hall? Are you looking for any of the above? Then why aren’t you a member?

We would like to invite you to join our ranks and promote this truly American art form: Jazz! JECO is sponsoring a membership drive in October and November with various events including our Band Director Reading Band and a JECO Jam Session! For a complete listing of events, visit http://www.jecohio. org and visit the “Jazz Events” page. While you’re there, why not become a member? Continue reading below and you will find a list of some of our 20132014 activities. If you have any questions, or would like to add a posting to our jazz events page, please contact our president at billburnsohio@gmail.com.

THE JECO READING BAND The JECO reading band will be held on Saturday, November 16, 2013 in the band room at Kettering Fairmont High School from 1:00–4:00 p.m. Everyone interested is encouraged to bring a chart and join us.

Dan Nicora will be hosting the event and will have several new charts to read from composer/arranger Eric Richards. If you are interested in attending, please send an email to dan.nicora@ketteringschools. org THE JECO JAM SESSION On Saturday, November 23rd, JECO will host a jazz jam session at Jimmie’s Ladder 11 in Dayton from 2:00-5:00 PM. The jam is open to all musicians regardless of playing experience. For directions, visit http:// jladder11.com/. Students or teachers can RVSP our chair, Jon Arnold at jon.arnold@edgewoodschools. net. Hope to see you there!

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THE JECO INTERCOLLEGIATE JAZZ ENSEMBLE This is an opportunity for collegiate jazz players to meet their peers from around the state, make new friends, and perform in a high-level musical ensemble at the OMEA Professional Development Conference in Columbus in February of 2014. We are excited to have David Bixler as our Director for 2014, and it promises to be a rewarding experience for all involved. Students auditioning must be JECO members and have a sponsoring professor. Auditions will be submitted electronically, so check with your jazz ensemble director about an institutional membership so that every jazz player at your institution can have this opportunity. This is one of the best chances you’ll get to strut your stuff during your college career, so take advantage of it! Contact our chair, Hal Melia, for more information at hal.melia@gmail.com

THE JECO MEMBERSHIP DRIVE! Join JECO by November 30th and get a free big band chart by JECO member Jay Miglia and two elementary jazz integration tunes by Bill Burns.

Visit http://www.jecohio.org/membership-info/ today!

Bill Burns is a music educator in Centerville City Schools and president of the Jazz Education Connection of Ohio. Hal Melia is Assistant Professor of Music at Central State University, and founder and Artistic Director of the Miami Valley Jazz Camp. Dan Nicora is Director of Jazz Studies in the Kettering City Schools and co director of the Miami Valley Jazz Camp.

Ashland University

Department of Music

Degrees & Offerings • Bachelor of Music in Music Education • Bachelor of Arts, Music Major – Applied Music Emphasis – Academic Studies Emphasis • Graduate Level Applied Music Instruction • Summer Graduate Music Education Courses & Workshops • Music Minor

Ensembles • Jazz Orchestra

• Ashland Area Community Band

• Woodwind Ensemble

• Concert Band

• Chamber Singers

• Jazz Combo

• Brass Ensemble

• Wind Ensemble

• Women’s Chorus

• University Choir

• Opera Workshop

• Ashland Area Chorus • Percussion Ensemble • String Ensemble

• Marching Band

Scholarship Audition Dates 2013-2014 For audition information, call 419.289.5100 Final audition date for scholarship priority is March 22.

Music Major • January 25, February 17, February 27, March 15, March 21 Music Minor & Ensemble Participant • November 2, February 15, March 22 Musical Theatre • February 15 Other dates are available by appointment.

1.800.882.1548 | www.ashland.edu/music

OCTOBER/NOVEMBER 2013

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Music Education: Orchestrating Success

Carrie Harper; MIOSM Committee

Welcome to a brand new year in which we get to implement our unique skills of orchestrating success!

Summer was the time to rest, recharge and renew our minds. With a new mindset toward this school year, we can assist our students reach their highest potentials while challenging ourselves to find our own successes in the midst of teaching.

How does “orchestrating success” translate into celebrating music? Have a concert utilizing some of the free resources provided, teach a lesson about the history of one of the composers and perform listening lessons based on the music. Host a school or community sing along or craft several lessons for the month of March which showcase a few of the pieces.

There are many ways to work this into the ever busy schedules we embrace. However, to orchestrate success both within ourselves and our students, we must 86

think beyond the scope of what is visible. Simple lessons, performances for other classes, an assembly sing or even individual classes performing one selection makes this big event do-able!

At the time of this publication, the final selections for the Concert for Music in Our Schools Month had not been finalized. I would encourage everyone to check the website, http://musiced.nafme.org/concert/ for the pieces. When they are posted, download the selections and corresponding audio tracks and begin to craft your own unique concert performance for the month of March.

In years past, the concert was held on the first Thursday in the month of March at 1:00 p.m. EST. However, this is no longer the case. NAfME would like for schools, teachers, classrooms and students to participate in a way which best suits school and community schedules. This means directors and teachers are afforded flexibility in how they approach the concert. Make selections from the free music and audio tracks which Hal Leonard has provided and celebrate in the way that works best for your community!

NAfME will no longer require the Student Performance Proposal video. Instead, you choose the songs, perform them according to the guidelines listed on the website and submit your performance video to NAfME. They will make their decisions based on the videos submitted and final selections will be posted to the site. The exciting twist to this new change is that the school video that receives the highest number of views will receive a prize from a sponsor and NAfME. Submit your video and watch for it to be posted. Then tell your students, fellow teachers and administrators to view the link. Spread the word to parents in the community about the importance of music education and encourage them to watch the video link as well. This big change is a great way to advocate while simply promoting something your students have accomplished! Best of luck in your submissions—let’s represent Ohio well in this endeavor!

Please feel free to contact me regarding the concert, music and possible performance opportunities at carrieharper.music@gmail.com. I would love to hear what you have done to help you and your students feel like you orchestrated success in your music education communities!

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any OMEA action alerts by contacting your House, Senate, and State Board of Education representatives when requested.

Music Education: What To Watch For (W2W4) – Advocacy Priorities for October 2013

Donna Collins; OAAE Executive Director

Joan Platz; OAAE Information and Research Director

W2W4 Many changes are in store for Ohio’s schools over the next few months. To better prepare for these changes, advocates for music education should monitor the State Board of Education (SBE) as it develops recommendations for revised operating standards and graduation requirements. Please respond to OCTOBER/NOVEMBER 2013

OPERATING STANDARDS The State Board of Education expects to approve by the end of this year revisions for Standards for Ohio’s Schools and School Districts – Kindergarten through Twelfth Grade, often referred to as Operating Standards. (Administrative Code 3301-35-01 through 15). The purpose of the revisions is to relieve school districts of some unfunded mandates and give them more flexibility to operate without requesting waivers.

The SBE is authorized under §3301.07 of the Ohio Revised Code (ORC) to “formulate and prescribe minimum standards” or rules to assure that all children are “provided access to a general education of high quality.” These standards are comparable to “opportunity to learn standards,” because they describe minimum requirements for credentialed staff, a curriculum aligned to standards, courses of study that include a scope and sequence, sufficient opportunity for students to learn, assessment of student learning, etc.

Unlike some states, Ohio does not require schools to follow specific guidelines to implement arts education programs. Operating standards, therefore, have become the “de facto” guidelines.

When school districts facing budget deficits consider cutting education programs, operating standards ensure that children continue to have access to the study of the fine arts and music at a minimum level.

Maintaining the current operating standards is a top priority for music education advocates, so please respond to action alerts. To learn more about how operating standards support music education please visit http://www.oaae.net/ GRADUATION REQUIREMENTS The State Board of Education is recommending changes to replace the Ohio Graduation Test requirement for graduation with “end of course exams.”

These changes are expected to go into effect by the end of 2013.

In addition, HB59 (Amstutz) Biennial Budget, requires the State Board to “…base any standards gov87

erning the promotion of students or requirements for graduation on the ability of students, at any grade level, to earn credits or advance upon demonstration of mastery of knowledge and skills through competency-based learning models.” The new law states that, “Credits of grade level advancement shall not require a minimum number of days or hours in a classroom.” (§3301.07 (D) (2) ORC) Most Ohio students attending traditional public schools, with the exception of students in career tech programs, are required to successfully complete two semesters or the equivalent in the arts in any grades 7-12 as a minimum graduation requirement.

This graduation requirement goes into effect with the class of 2014 and should be maintained. Research should be conducted to determine 1) how many students complete this requirement and also earn graduation credit, and 2) if this graduation requirement should become more rigorous in the future.

The State Board should also provide guidelines for granting students course credits without requiring them to complete a certain amount of instructional time for the course.

The Ohio Alliance for Arts Education (OAAE), your arts education partner, is working hard to keep you informed about policy issues relating to arts education. Please use this information to your benefit at the local and state levels. You can stay current by reading our weekly Arts On Line Education Update at: http://ohioarts.wordpress.com/category/arts-online/ every Monday afternoon. OAAE is your primary source of news for arts education in Ohio and we are proud to work in partnership with the Ohio Music Education Association.

For more information about the Ohio Alliance for Arts Education, contact Donna Collins, executive director at dcollins@oaae.net or by telephone at 614.224.1060.

NEW CONCERT BAND MUSIC READING CLINIC AND HONORS BAND Nov. 22 – 23

CONSERVATORY OF MUSIC CHRISTMAS FESTIVAL Dec. 5 – 8

www.capital.edu/music www.capital.edu/mmme 866-544-6175 TOLL FREE

BACHELOR OF MUSIC Music Education American Music Music Industry (jazz studies emphasis) Music Technology Composition Performance (includes Keyboard Pedagogy

opera and musical theatre emphasis)

BACHELOR OF ARTS Music Music Technology

CAP ORCHESTRA CONCERT Nov. 3

Choose from more than a dozen music majors with opportunities to perform with more than 30 ensembles

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Music Education: Cultivating a Culture

Justin Caithaml; OCMEA TRIAD Editor

I recently attended a lecture in which the speaker pointed out that the function of a culture is to cultivate specific attitudes and behaviors. This is the reason why cultures evolve and change over time. In fact, the speaker went as far as to claim that if one does not subscribe to the views of the surrounding culture, they must embody the behaviors of a “counter-culture” in order to make any changes to the status quo.

While listening to this speaker, I couldn’t help but apply this same reasoning to the current culture surrounding music education. It seems that the “word on the street” is that arts education is threatened. Money is tight. Levies are failing. Programs are cut. From my observations in high school and college, this seems to have been the trend for a number of years. It seems in some ways that we have accepted this fate. It has become second nature to cut programs. Frustration abounds as music teachers now resort to becoming the “jack of all trades” just to provide a break for the subjects that are tested by the state. Sounds like a pretty grim culture to me.

OCTOBER/NOVEMBER 2013

But this grim culture is the very reason why I was so excited by the speaker. We, as future music educators have the power to embody a counter-culture where music thrives! How do we do this? By telling our story to anyone who will listen. We must prove to every community in the state that music education makes a difference. I know, this is easier said than done. But with a little research and a personal story, you are well on your way.

This past winter, my home school district announced that if the upcoming levy were to fail, elementary music, art, and gym instruction would be completely removed from the curriculum. Since the district had not passed a levy in 19 years, naturally the community was expecting drastic cuts, but they never expected the cuts to be that extreme! What was the reply from the community? The creation of a “counter-culture.” Facebook campaigns appeared. Students and parents went door-to-door on the weekends. Voter registration drives and absentee ballot initiatives for college students were formed. The community began to embody a “counter-culture” that had never before been seen. And what happened? The levy passed by a 2-to-1 margin. The counter-culture had been created.

It is with this vision of creating a “counter-culture” that I ask all OCMEA members to mark their calendars for the annual OCMEA Fall Conference on November 2, 2013 at the Riffe Center for Government and the Arts in Columbus. The entire day will be themed around advocacy and developing practical tools needed to create a culture that values music and arts education in every local school district in Ohio.

If we do not begin to strategize these tools, we run the risk of further subscribing to the grim culture of cuts and failing levies that surround us.

If not on November 2nd, when? If not you, then who? It is OUR time to shape music education for future generations. I hope to see you on November 2nd in Columbus!

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Music Education: Pay It Forward

Gary Miller; OFME Board Member

It is again a pleasure for me to be asked to write an article for TRIAD—particularly this issue, since it is the first available solely online, and therefore available to everyone. The “power of the pen” was nothing compared to the “power of the internet,” but you all know that!

I am a member of the Board of Directors of the Ohio Foundation for Music Education (OFME) and I serve because of my passion for music and music education. Let me state unequivocally, my only musical talent is listening…and I listen to everything from Lady Gaga (honestly!) to the Massillon Washington High School’s annual presentation of Handel’s Messiah. I love them both and everything in between.

In addition to my passion for music and music education, I also have a unique perspective that helps me be effective on the Board of the OFME, and many of you will understand. First, I have been a businessman for 40+ years and have been an elected officer of two public companies. Second, I have been on the Massillon Board of Education for almost 30 years, 90

which will test the mettle of anyone. Third, my wife and I have four children, all of whom were engaged in instrumental music through the eighth grade and vocal music throughout high school. These credentials not only give me a passion, but a strong point of view as well. As my wife says, “He’s not always right…but he’s never in doubt.” That can certainly be said about my thoughts on music and music education.

Before I wax eloquently about my points of view on music and music education, it is important for you to know who we are and what we do as the Ohio Foundation of Music Education, and with the magic of the internet, clicking on this link will tell you exactly that: http://www.ohiofoundationformusiceducation.org. In reality, we as a foundation are enablers.

We enable OMEA with our financial support, and we enable deserving students with scholarships for the study of music or music education. We are all about maintaining and expanding music education in the State of Ohio, and believe me, that is a noble mission and an increasingly difficult task.

I told you my perspective was unique, and from the perspective of a BOE member, we struggle daily with competing financial priorities, such as reading, math, or science. Although the benefit of music education is understood, alternatives to either/or—either math, reading, and science or music education—are not seen. This is where my unique perspective of OFME Board Member, MBOE Board Member, and businessman helps.

Today, every BOE in the State of Ohio (600+ districts) is struggling for adequate funding. Salaries, health care costs, and virtually all other costs are increasing. There is increasing focus on measuring the results of each district based on the outcomes of student testing, and there is increasing focus on teacher evaluation and performance. All of these issues emphasize two things: Boards of Education and eliminating any non-essential costs From the businessman’s perspective, the economy is still anything but robust. It has “fits and starts” with one good month followed by a bad month. Boards of Education are very reluctant to put levies on the ballot in this uncertain economy, so they just continue to cut costs and the arts are a convenient place.

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That is the precise issue we face on the BOD of OFME. It can be seen in different ways: • Budgets for music programs (and all the arts)

are being reduced • Funding is being reduced/eliminated for

sending music teachers to OMEA events • Scholarships for deserving students are less plentiful It is not a lack of desire on the part of the Boards of Education; it is simply an issue of choices they face.

Our mission in OFME is to enable those teachers and those students to receive the funding required for keeping our music education programs strong and vibrant. Frankly, for those of us who have a passion for music and music education, there is only one solution: support in the form of money! Money from donations of people with the same passion we have—students, teachers, parents, friends, and businesses who are engaged in marketing everything from instruments to incentives and trips.

It will require a commitment from the entire community to maintain this music initiative for all dis-

tricts. We have an incredibly talented group of teachers and students and an incredibly talented group of alumni who know the value of music and music education for themselves and those to come. Please join us, support us, and pass the word. We have a unique opportunity through the online TRIAD, and it will take the entire community to do this.

I am a strong believer in the old axiom, “If you can’t measure it, you can’t manage it.” I think it is imperative we establish a specific financial goal that will enable us to expand the assistance OFME is providing to OMEA, its members, the music education community in Ohio, and most importantly our students who have committed to music education as a vocation.

We will be discussing and establish this target at our next OFME Board of Directors meeting and we will communicate the goal as well as our progress toward achievement of it.

Thank you for giving me this opportunity to speak about the issues and the solutions we have today. We hope you can make the commitment to “pay it forward.”

, d N a rB o F s ir o le t h i C t w Nd a , NNeew a ear y r l t o o s h e 4 sc 1 0 orCh 2 13 20 e h t r fo

www.CarlFisCher.Com for a complete list of titles and educational resources

OCTOBER/NOVEMBER 2013

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OHIO SOCIETY FOR MUSIC TEACHER EDUCATION Challenges to Our Thinking about Diversity and Democracy in (Music) Education from the 2013 Mountain Lake Colloquium

Dr. Sharon Davis Gratto; OSMTE Chair

The opportunity to reconnect with professional and personal music education colleagues and friends is an anticipated joy of the biennial Mountain Lake Colloquium for Teachers of General Music Methods.

Mountain Lake, where “Dirty Dancing” was filmed, is high above the towns of Blacksburg, and Christiansburg, VA. It’s a special spot featuring beautiful scenery and wooded hiking trails. As always, there was evidence of new plant life and varieties of birds, all 92

of which were exciting to see. There were also experiences for new learning guaranteed to challenge everyone’s tendency toward professional complacency.

The 2013 colloquium challenged our thinking about diversity and democracy in education. The colloquium featured two dynamic presenters, each of whom shared strong personal views about race, music, and education. Dr. Ysaye Barnwell—recently retired as a founding member (1979) of the internationally acclaimed vocal group Sweet Honey in the Rock—joined attendees for several days of music making and conversation. She led a diverse array of inspiring, multicultural songs and engaged everyone in discussion during conference sessions and meals about diversity and music education.

Barnwell’s career, we learned, has included time as a college professor, an advocate for the hearing impaired, a composer, an actress, an author, and a choral clinician for music in the African American tradition, among many other things. Barnwell’s most recent project is related to her musical setting of Connecticut Poet Laureate Marilyn Nelson’s epic work, Fortune’s Bones: The Manumission Requiem. Fortune was an 18th Century African American slave who served a doctor in post-Colonial Waterbury, Connecticut.

When he died, he was never buried. His skeleton was preserved instead as a medical specimen for anatomical study and then from 1930 as an exhibit in the Mattatuck Museum. Barnwell’s composition for symphony orchestra, choirs, and African bells and a related 2012 project at the University of Maryland represented a final effort to put Fortune to rest. Her re-telling of this emotional story at Mountain Lake had a deep and powerful impact on each listener.

The colloquium’s keynote speaker was Dr. Gloria Ladson-Billings, Chair of the Department of Curriculum and Instruction at the University of Wisconsin-Madison. A prolific writer and editor, Ladson-Billings’ books include the well-known titles The Dreamkeepers: Successful Teachers of African American Children; Crossing Over to Canaan: The Journey of New Teachers in Diverse Classrooms; and Beyond the Big House: African American Educators on Teacher Education. Her writing focus is the theme of the undemocratic environments that exist in our educational system.

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After summarizing the musical and cultural history of the “hip-hop generation,” Ladson-Billings asked how educators today could teach this unique generation. As school climates become increasingly less democratic, she explained, students are attempting to satisfy their personal needs outside of class through their own forms of artistic expression. She suggested that educators consider encouraging students to select and bring to school music from their own experience that falls within the boundaries of propriety to share and study in the classroom environment. She reported that ironically the largest consumers of hiphop music and culture are “white kids.” She explained that educators must build trusting relationships with parents to help them understand new ways to reach and teach today’s school populations. In higher edu-

cation, she said, this includes meeting incoming students where they are and beginning their educational experiences based on what they know and do regularly in their lives. It includes helping them develop relationships with others not of their race or background by providing opportunities for social and educational interaction.

Once again the Mountain Lake Colloquium proved to be a valuable experience for all attendees.

This year two gifted and successful African American women challenged those of us working in higher education through songs, discussion, and sessions. While their vehicles were different, their messages were the same. We must make every effort to change education through the democratization of the environments in which we teach.

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PROFESSIONAL DEVELOPMENT & ASSESSMENT Workshops, Continuing Education, Camps, and More for Teachers & Students

THE OHIO STATE UNIVERSITY SCHOOL OF MUSIC

WRIGHT STATE UNIVERSITY

Clarinet Spectacular: Jazz Meets the Classics November 9-10, 2013 Guest Clinician, Eddie Daniels The Ohio State University School of Music Weigel Hall 1866 College Rd. Columbus, OH 43210 music.osu.edu

Woodwind Double Reed Festival (Oboe & Bassoon) November 23, 2013, 9:00 a.m. – 5:00 p.m.

Wright State University (Dayton, OH) http://www.wright.edu/music/festivals/ Contact: 937-775-3170 or william.jobert@wright.edu

WRIGHT STATE UNIVERSITY

WRIGHT STATE UNIVERSITY

Brass Low Brass Festival January 19, 2014 Wright State University (Dayton, OH) http://www.wright.edu/music/festivals/ Contact: 937-775-2541 or gretchen.mcnamara@wright.edu

Single Reed Festival (Clarinet & Saxophone) November 23, 2013, 9:00 a.m. – 5:00 p.m.

Wright State University (Dayton, OH) http://www.wright.edu/music/festivals/ Contact: 937-775-2178 or shelley.jagow@wright.edu

OCTOBER/NOVEMBER 2013

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TEACHER EVALUATION Recent Themes in Teacher Evaluation Doug Orzolek; Chair of the Society for Music Teacher Education of the National Association for Music Education

The dialogue about teacher evaluation in the United States has reached a pinnacle with myriad reports, research, and papers that opine about the best possible approaches for holding teachers accountable for student learning and growth. This article offers a brief look at some of the recent themes related to teacher evaluation and considers a number of practical applications of those ideas for the evaluation of music educators.

In recent months, the following categories of music teacher evaluation seem to surfacing and are worthy of further study and consideration. Teachers and administrators alike, with limited time and resources, are threading a complex maze of regulations that vary from state to state. It is likely that your state and school is considering the use of one or a combination of these approaches in the development of the process that will be used to evaluate your work. Those categories include: • Teacher evaluations tools that are linked to

the assessment of student outcomes; • Teacher evaluation tools that are connected

to teacher practices via observations; • Teacher evaluations linked to practice through

self-assessment/critical reflection/narrative; and • Teacher evaluations that are multifaceted —

that is, that involve some combination

of the previous three.

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THEMES FROM EVALUATION OF STUDENT OUTCOMES Effective teaching in a music class requires different professional practice and outcome measures than effective teaching in algebra class, which means that the measures of collecting evidence may vary based upon the subject area of the teacher.1 Many organizations are recognizing that the evidence of student learning in some disciplines will look entirely different from that in other areas. This realization is important and vital to the development of music teacher evaluation tools. Statements like the quote above also remind us of concerns and questions that are raised when statistical models [such as value-added models (VAMs) or evaluation tools derived from standardized tests] are used in the evaluation of teachers. The use of student learning outcomes (SLOs) also fits into this category, and, in general, this approach is considered flexible and most directly tied to teacher practice, since teachers establish the goals set for each student. The literature also reminds us “the arts rely primarily on individual evaluation rather than standardized testing,”2 meaning that issues of time and numbers of students begin to play a factor in using student evidence in the evaluation of music educators.

In summary, the following are the themes for us to address, monitor and consider: TRIAD

• Music educators must develop clear, concise and assessable outcomes/objectives for the learning occurring in our classrooms; • Music educators must understand and articu- late our stance on the use and implications of statistical models (like VAMs) in the evaluation of our work; • Music educators need experiences with a wide variety of assessment tools and various means of collecting the evidence of student learning in our classrooms; • And, music educators need to develop an effi- cient and clear means of reporting our find ings with others.

THEMES FROM EVALUATION THROUGH OBSERVATION The various comments, opinions, and conjectures about evaluation of educators through observation are equally taxing to absorb, but there are some apparent themes for our consideration. Most agree that observers need to be carefully trained in order to provide fair and consistent feedback and, in general, the

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reliability of the observations increases when more than one observer is part of the process. In addition, the use of domain-based observation tools (e.g., the Danielson or Marzano models) with multiple rating levels (at least four) seems to provide more substantive feedback that encourages teacher growth and development. Some have shared their concerns about making these observation tools as music-education-friendly as possible. That might be accomplished by ensuring that the dispositions exclusive to teaching music and all of the contextual pieces related to music classrooms are included and taken into consideration.

There is some support for the use of student perception surveys in the observation process as well. Overall, it’s important that music educators take an active role in the development and implementation of the observation process.

THEMES FROM EVALUATION THROUGH SELF-REFLECTION Self-reflection is typically done through a narrative or oral interview. Several authors suggest that this type of evaluation can be enhanced and more effective

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when teachers focus their reflections on the processes of student learning rather than that of their own teaching. In addition, however, when teacher reflection is focused on the final products of student learning, the results often include changes in the teaching process to enhance learning. The process of reflecting on your teaching is very time consuming and can be quite difficult, but the advantages seem to outweigh the difficulties: Abundant evidence … indicates that a thoughtful approach to teacher evaluation—one that engages teachers in reflection and self-assessment—yields benefits far beyond the important goal of quality assurance. Such an approach provides the vehicle for teacher growth and development by providing opportunities for professional conversation around agreed-upon standards of practice.”3 This type of reflective process has become a relatively consistent part of learning to teach and many pre-service teachers are entering the field with a means of making this happen. The ability for us to articulate and share these reflections with others may hold a key to helping our colleagues and administrators evaluate our work more effectively.

THEMES FROM MULTIFACETED EVALUATIONS Most of those involved with teacher evaluation understand that teaching is a highly complex and challenging thing to do. Which, in turn, makes the evaluation of a teacher’s work equally difficult (if not more so!). Some argue that by incorporating a balanced, multi-measure approach using information collected from some combination of student outcomes, observations and narratives, we may get the best picture of a teacher’s impact on student learning. Of course, the question then falls to how we might define that “balance.” While most recent research seems to be suggesting that an equitable distribution of the facets (testing/outcomes, observations, student evaluations) seems to be the most reliable, it also implies that the least effective model is one that is wholly based on the observation of student work. Music educators should carefully monitor the weighting of each piece of these types of evaluations and, in my opinion, be armed with a model that they feel would best support their growth and development needs.

OCTOBER/NOVEMBER 2013

BE INVOLVED, STAY INFORMED! To me, evaluation should always be about the process of gathering and weighing evidence that informs us about the changes we need to make to improve something. While that may seem simple, the issue becomes much more challenging when we think about the complexities of teaching music and the very definition of what constitutes music teacher effectiveness. To that end, we must keep music teacher evaluation at the top of our agenda, coordinate efforts of research and experimentation and, most importantly, share our findings to determine the best means to meeting the call for accountability and advancing our profession.

The Society for Music Teacher Education (SMTE) is engaged with research, discussions, analysis, and a variety of projects that not only address the concerns related to teacher evaluation, but also those of preparing music educators to work in this educational climate. I encourage you to visit SMTE’s page (http:// smte.us) on the website of the National Association for Music Education, where you will find links to our teacher evaluation portal. You are always welcome to contact SMTE’s national or your state SMTE leadership with comments, thoughts, or ideas about how we can work together to continue the dialogue.

Doug Orzolek is chair of the Society for Music Teacher Education of the National Association for Music Education (NAfME) and an associate professor of music education at the University of St. Thomas in St. Paul, Minnesota. He can be reached at dcorzolek@stthomas.edu. This article, © 2013, is printed with permission of the author.

Notes 1 National Education Association, “Promoting and Implementing: The National Education Association Policy Statement on Teacher Evaluation and Accountability,” NEA Toolkit, 2012. http://www. nea.org/assets/docs/2011NEA_Teacher_Eval_Toolkit.pdf.

2 S. Hope, Assessment on Our Own Terms,” Arts Education Policy Review 114, no. 1 (2013): 4.

3 C. Danielson, “Evaluations that Help Teachers Learn,” The Effective Educator 68, no. 4 (2011): 39.

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OMEA 2013 PROFESSIONAL DEVELOPMENT CONFERENCE Poster Presentation Summaries Jonathan Saeger; Kent State University

INTRODUCTION We music educators constantly seek improvement.

Research can help us to grow and move the profession forward. The Research Poster Presentation, held every year at the OMEA Professional Development Conference, offers a tremendous opportunity for music education researchers to share their contributions with music teachers. Participants in the 2013 OMEA Poster Presentation provided valuable information to both pre-service and in-service teachers. Below is a summary of the research presented in that session.

STUDENT MOTIVATION Martina Vasil1 presented a study on both intrinsic and extrinsic student motivation. The study was based upon four stages of extrinsic motivation defined in a previous study by R. M. Ryan and E. L. Deci. Using Seidman’s three-interview model, Vasil interviewed six fourth-grade students aged nine to eleven years old over a three-week period. Selected research questions focused on extrinsic motivation, musical background, and extra musical activities. The interviews were videotaped and uploaded to a computer where they were then transcribed and converted to a digital format and then coded using open and direct coding methods. The study found that three factors influence intrinsic motivation: competence, autonomy, and relatedness. Vasil determined that the study participants had all moved through the first two stages of extrin100

sic motivation: regulation through identification and integrated regulation. The study implications include identifying what influence teachers have over extrinsic motivators that may influence a student’s decision to join the instrumental program. Also, recognizing the move to intrinsic motivation will help the students become active learners.

A literature review by John T. Owens2 examined how percussionists approach their instruments, what motivates them as performers and what challenges percussionists bring to the table. Intrinsic and extrinsic motivators were studied as well as environmental conditions, fear, and social factors. Owens looked at the percussionist subculture and made recommendations concerning motivation. Recommendations

by Owens include the need to challenge percussionists through strenuous literature, and focus on teacher-student dynamics. Also suggested in the research were goal setting, planning and creating performance objectives. The poster provided an overall look at what Owens envisions as a model percussion program including ways to integrate technology, creating separate percussion ensembles and providing opportunities for quality student leadership.

CONCERT PROGRAMMING David M. Hedgecoth3 researched programming practices for non-premiere bands, or second bands, through one-on-one interviews with ten conductors TRIAD

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The interview participants also provided a list of selected repertoire from the previous four years. The study unveiled that while these mid-level ensembles are generally considered to be the lower-tier band, the conductors and players do not perceive themselves as “second best.” An examination of the literature shows that despite the conductors’ stated goal of including standard repertoire for these mid-level bands, the inclination of these conductors is toward newer literature. One other important factor of literature selection was the relationship of the conductor and the Director of Bands.

MUSIC STUDENT IDENTIFICATION Kate Ferguson4 presented a literature review that examined three questions about identifying secondary students as possible music majors. As music teacher retention and recruitment are two priorities identified by the Music Educators National Conference (now

NAfME), Ferguson seeks to examine factors that affect the identities of future music teachers, as well as the psychological barriers that prevent students from becoming pre-service teachers. The research found that students who elect to become music education majors decide early in their schooling. The experience that these students have in elementary, middle, and high school may be the primary influences in their determination. Students who are given teacher-like duties, including conducting or supervising sectionals are also more likely to choose music as a vocation.

Ferguson also noted that a variety of influences affected the decision to become a music major which included a love of music, impact of music teacher, and student’s confidence in music ability. Also examined was the motivation or the drive to do something once the student has selected music education as a major.

Dr. Crystal Guy Sieger5 explored early stages of performer-teacher identity within five music students who were currently double majors in music

Here are some simple, time-effective ways principals can assist their school’s music educators: Create and Foster an Environment of Support • Study the ways that music education develops creativity, enhances cooperative learning, instills disciplined work habits, and correlates with gains in standardized test scores.

• Provide adequate funding for instruments and music education materials.

• Make certain that your school has a fully staffed faculty of certified music teachers.

Tips to Share with

Your Principal

Principals and school boards have the ability to substantially aid music educators in their quest to enrich children’s minds through music. Fostering a strong music program will help them achieve their goals as a leader in the education community, and, most of all, will aid the growth and development of children in their school.

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Communicate Constructively • Make statistical studies and research supporting the value of music education available to other administrators and school boards.

• Encourage music teachers to support their cause by writing articles in local newspapers, professional journals, or by blogging online about the value of music education.

• Share your students’ successes with district colleagues.

Include articles in school and district newsletters to communicate the value of music in a student’s education.

Visit www.nafme.org for more Principal Resources.

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performance and music education. Sieger used both individual interviews and focus-group interviews to learn about the experiences of the five students. Six themes common to each of the students were found including: Blended Musician Identity, Socialization, Performance/Teacher Training, Double Major Schedule, Perceptions of Identity Development, and Music Performance/Music Education Conflict.

This study revealed that the students identified with a particular major based on whether they were receiving hands-on experiences. Real-life experiences played a large role in identity development. Concerning workload, participants expressed concern over the quantity of work and whether it impacted their ability to develop adequate skills for success. Sieger also found that the participants tended to cater to the perceptions of those within their immediate environment. Due to these concerns, a conflict of inferiority/ superiority between the music education majors and performance majors existed both within and across applied studios.

ESSENTIAL PERSONAL TRAITS OF MUSICIANS Dr. Tammy L. Kuntz6 completed a quantitative study, which examined 365 musicians from eight community bands and four community orchestras all based in northeastern Ohio. Through the use of a survey and an adjective checklist, Dr. Kuntz discovered the ten most frequent traits that musicians most often self-identified in themselves. From highest to lowest the ten traits were dependable, active, honest, capable, friendly, considerate, conscientious, adaptable, appreciative, and practical. Dr. Kuntz compared the responses of the musicians aged 50 and older to the total population and discovered that the answers varied little. The population aged 50 and older had two different answers in their top ten, which were the addition of the words cooperative and artistic. This research may assist educators as they identify students who may become successful musicians for life.

research. Bagwell found that music might help correct articulation issues, speech rhythms, inflections, expression and volume. The use of music may also aid in memorization and recall. Bagwell noted that music has the added benefit of providing students a non-threatening environment with which to work on these skills. Music has also been found to reduce anxiety and aid students and adults who may be reluctant to speak in public. Bagwell stated that more research is needed in brain impairment and normal functioning of the brain.

Notes 1 M. Vasil, “Extrinsic Motivators Affecting Fourth-Grade Students’ Interest and Enrollment in an Instrumental Program.”

Poster presentation at OMEA Professional Development Conference, Columbus, Ohio, February 7-9, 2013.

2 J.T. Owens, “Motivating High School Percussion Students.”

Poster presentation at OMEA Professional Development Conference, Columbus, Ohio, February 7-9, 2013.

3 D.M. Hedgecoth, “Factors Influencing the Programming Practices of Conductors of Mid-Level Collegiate Ensembles.”

Poster presentation at OMEA Professional Development Conference, Columbus, Ohio, February 7-9, 2013.

4 K. Ferguson, “Becoming an Undergraduate Music Education Major: When Does It Happen? Who Makes It Happen? and Why Does It Happen?” Poster presentation at OMEA Professional Development Conference, Columbus, Ohio, February 7-9, 2013.

5 C.G. Sieger, “Identity Perceptions of Music Performance/ Music Education Double Majors: A Qualitative Study.” Poster presentation at OMEA Professional Development Conference, Columbus, Ohio, February 7-9, 2013.

6 T.L. Kuntz, “Self-Reported Personal Traits of Adult Amateur Musicians.” Poster presentation at OMEA Professional Development Conference, Columbus, Ohio, February 7-9, 2013.

7 D.M. Bagwell, “Using Music To Correct Speech Problems.”

Poster presentation at OMEA Professional Development Conference, Columbus, Ohio, February 7-9, 2013.

MUSIC AND BRAIN FUNCTION Dawn Michelle Bagwell7 examined four separate areas which include speech development; brain function and music; speech and language; the use of music to correct speech; and recommendations for future OCTOBER/NOVEMBER 2013

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VERNACULAR MUSIC INSTRUCTION Implications for Music Education David Scalise; Graduate Student at Case Western Reserve Univeristy

“What is your favorite song?” Most students answer this question by replying with an example of vernacular music: material that is part of students’ everyday musical language, such as a song they heard on the radio or from a YouTube video. Experiences with vernacular music often involve informal learning practices1 and popular genres. Students enter classrooms with a large vernacular music vocabulary, yet most curricular music offerings do little to build on students’ prior learning in this area. This review will present findings from existing research on vernacular music practices, and suggest ways teachers can explore implementing vernacular music-making into their programs.

Current music instruction is largely based on traditional teacher-centered music practices, in which the focal point of all musical activity is the instruction of the teacher2. However, researchers have pointed out the discrepancy between traditional music instruction and practices used in musical expression outside of the classroom3. To explore this discrepancy, Green interviewed nine professional popular musicians and found that much of their music learning came from imitating other musicians, studying recordings, and performing for others4. While these practices are present in formal music education, they are often peripheral and used in adjunct to traditional music practices.

OCTOBER/NOVEMBER 2013

Music education researchers have recently begun advocating for increased emphasis on the vernacular practices used to learn popular music: informal learning practices5. Informal learning practices distinguish themselves from their traditional counterparts in five ways: they allow students to (a) choose their own music, (b) copy recordings by ear, (c) learn in self-made groups, (d) assimilate skills in personal, haphazard ways, often disregarding standard curriculum or pedagogical methods, and (e) integrate listening, performing, improvising and composing, with a particular emphasis on creativity.

RESEARCH FINDINGS Recent literature suggests that the inclusion of vernacular music in music education programs has many benefits. For example, Byrne and Sheridan surveyed public schools in Scotland after changes in the national curriculum increased the emphasis on the study of popular music6. Survey results showed a significant upturn in student enrollment. Further, the inclusion of a wider range of acceptable musical instruments in the classroom (e.g., guitar, drum set), resulted in rock music being accepted by teachers as a valid form of music within the curriculum. The inclusion of vernacular music in formal education settings is an invaluable process through which students can develop improvisation, composition, and arranging skills, all 105

of which are fundamental components of musicianship7. Further, studying popular music can lead to students finding relevancy between popular music and their own lives8.

Research on informal learning practices is limited in the field of music education. The few studies that have explored informal learning practices in the classroom have shown that these techniques significantly impact student motivation and engagement. Gamble points to the increased student motivation exhibited when involvement with music becomes more personal9—a common occurrence when students engage in informal learning10. Of note, integrating popular music and informal learning practices into formal education settings benefits the learning of classical and western art music. In a qualitative study conducted by Green, including popular music and informal learning into the curriculum allowed students to shed their negative attitudes associated with learning and listening to classical music11.

APPLICATIONS Vernacular music-making in secondary music programs can take many forms. To start small, teachers can use a few minutes of rehearsal time to listen to and analyze recordings of students’ choosing. Taking time to show interest in students’ personal music selection can grow a strong community in your ensemble.

Teachers may also consider adding an ensemble to their program that uses authentic instrumentation for the style of music being performed. For example, at Lakewood High School in Lakewood, Ohio, the orchestra program has an extracurricular rock orchestra that uses electric and acoustic string instruments as well as traditional rhythm section instruments to perform popular music. At Coventry High School in Akron, Ohio, I added a steel band and an R&B band that combines vocalists, horns, and rhythm section.

These groups have greatly amplified student and community interest, while embodying many of Green’s informal learning practices and encouraging students to arrange and compose pieces for the ensemble. Additions to secondary music programs may include: mariachi bands, salsa bands, garage bands, electronic music ensembles, and music technology classes. All of these experiences differ greatly from the “bait-and106

switch” tactic, where teachers program an arrangement of a pop tune simply to get students involved in classical music, rather than study vernacular music for its own qualities12.

CONCLUSIONS Vernacular music can uniquely prepare students for informal music experiences that exist beyond graduation. Initial research findings suggest that vernacular music techniques are motivating to students, increase enrollment, and may increase student appreciation for classical music. Further research is needed to determine how best to implement these practices in traditional settings, as well as the potential benefits of these practices for students, teachers, and school administrators.

David Scalise, a graduate student at Case Western University, was the director of bands at Coventry High School in Akron, Ohio, for the last five years. During his time at Coventry, Mr. Scalise founded two new curricular ensembles: the Coventry High School Steel Band and DaFunk’d, a soul & funk ensemble.

Notes 1 L. Green, How Popular Musicians Learn: A Way Ahead for Music Education (Burlington, VT: Ashgate Publishing Company, 2002).

2 Green, 2002.

3 S.E. Jaffurs, “The Impact of Informal Music Learning Practices in the Classroom, or How I Learned How to Teach from a Garage Band,” International Journal of Music Education 22, no. 3 (December 2004): 189–200.

4 Green, 2002.

5 Allsup, 2003; Green, 2002.

6 C. Byrne and M. Sheridan, “The Long and Winding Road: The Story of Rock Music in Scottish Schools,” International Journal of Music Education 36, no. 1 (November 2000): 46–57.

7 D. G. Hebert and P. S. Campbell, “Rock Music in American Schools: Positions and Practices Since the 1960s,” International Journal of Music Education 36, no. 1 (November 1, 2000): 14–22.

8 S.G. Davis and D.V. Blair, “Popular Music in American Teacher Education: A Glimpse into a Secondary Methods Course,” International Journal of Music Education 29, no. 2 (May 2011): 124–140.

9 T. Gamble, “Imagination and Understanding in the Music Curriculum,” British Journal of Music Education 1 (1984): 7–25.

10 L. Green, “Popular Music Education in and for Itself, and for ‘Other’ Music: Current Research in the Classroom,” International Journal of Music Education 24, no. 2 (August 2006): 101–118.

11 Ibid.

12 Cutietta, 1991.

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POSTING DATE** October 4, 2013 December 6, 2013 April 4, 2014

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: Matthew Warner • 937-570-0927 • editor_of_triad@omea-ohio.org DESIGN/PRODUCTION: Amy Annico • 210-570-OMEA • media_director@omea-ohio.org ADVERTISING: David N. Adamson • 440-552-6983 • business_manager@omea-ohio.org “Writing For TRIAD” guidelines are posted on the OMEA website (www.omea-ohio.org), Advertising/Media section, TRIAD page. Interested new advertisers should view this same section under “Advertising Opportunities” and/or contact the OMEA Business Manager David Adamson for assistance.

ADVERTISERS/WEBSITES Alfred Music Publishing. . . . . . . . . . . . . . . . . . http://www.alfred.com. . . . . . . . . . . . . . . . . . . 67

Musicians Repair Service. . . . . . . . . . . . . . . . http://www.mrsakronohio.com . . . . . . . 107

Ashland University. . . . . . . . . . . . . . . . . . . . . . http://www.ashland.edu. . . . . . . . . . . . . . . 85

Muskingum University . . . . . . . . . . . . . . . . . http://www.muskingum.edu/dept/music ..73

Baldwin Wallace College . . . . . . . . . . . . . . http://www.bw.edu/conservatory. . . . . . 70

Noteworthy Tours. . . . . . . . . . . . . . . . . . . . . . http://www.noteworthytours.com . . . . . . 2

Bob Rogers Travel . . . . . . . . . . . . . . . . . . . . . http://www.bobrogerstravel.com. . . . . . . 4

Ohio Northern University. . . . . . . . . . . . . . . http://www.onu.edu/music. . . . . . . . . . . . . 21

Capital University. . . . . . . . . . . . . . . . . . . . . . http://www.music.capital.edu. . . . . . . . . . 88

Ohio State University, The. . . . . . . . . . . . . http://www.music.osu.edu. . . . . . . . . 13, 77

Carl Fischer Music . . . . . . . . . . . . . . . . . . . . . . http://www.carlfischer.com. . . . . . . . . . . . . 91

Ohio University. . . . . . . . . . . . . . . . . . . . . . . . http://www.finearts.ohio.edu/music. . . . 28

Case Western Reserve University . . . . . . . http://music.case.edu. . . . . . . . . . . . . . . . . . . 43

Otterbein University. . . . . . . . . . . . . . . . . . . http://www.otterbein.edu . . . . . . . . . . . . . 47

CCIS, Inc.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . http://www.ccistravel.com. . . . . . . . . . . . 104

Quaver Music.com. . . . . . . . . . . . . . . . . . . . . http://www.qk-5.com/. . . . . . . . . . . . . . . . . 15

Charms Office Assistant. . . . . . . . . . . . . . . . . http://www.charmsoffice.com . . . . . . . . . 63

Rettig Music, Inc.. . . . . . . . . . . . . . . . . . . . . . . http://www.rettigmusic.com. . . . . . . . . . IFC

Cleveland State University. . . . . . . . . . . . http://www.csuohio.edu/class/music. . . 57

Royalton Music Center. . . . . . . . . . . . . . . . . http://www.royaltonmusic.com. . . . . . . . 17

CMS Publications . . . . . . . . . . . . . . . . . . . . . . . http://www.cmspublications.com. . . . . . 77

Soundwaves Recording. . . . . . . . . . . . . . . . http://www.soundwaves.org. . . . . . . . . . . 98

College of Wooster, The. . . . . . . . . . . . . . . . http://www.wooster.edu/music. . . . . . . . 10

Stanton’s Sheet Music. . . . . . . . . . . . . . . . . . . http://www.stantons.com. . . . . . . . . . . . . 109

Cuyahoga Community College. . . . . . . . . . http://www.tri-c.edu. . . . . . . . . . . . . . . . . . . 61

Summit Tour & Travel. . . . . . . . . . . . . . . . . . http://www.summittourtravel.com. . . . . 35

DePauw University. . . . . . . . . . . . . . . . . . . . . . http://www.depauw.edu/music. . . . . . . . 69

University of Akron, The. . . . . . . . . . . . . . . http://www.uakron.edu/music. . . . . . . . . 48

EPN Travel Services. . . . . . . . . . . . . . . . . . . . http://www.epntravel.com. . . . . . . . . . . . . 20

University of Cincinnati . . . . . . . . . . . . . . . . . http://www.ccm.uc.edu. . . . . . . . . . . . . . . . 94

Grace Notes LLC. . . . . . . . . . . . . . . . . . . . . . . . . http://www.sightreadingfactory.com .. . . 93

University of Dayton. . . . . . . . . . . . . . . . . . . http://academic.udayton.edu/music . . . 58

Heidelberg University. . . . . . . . . . . . . . . . . http://www.heidelberg.edu. . . . . . . . . . . . 74

University of Mount Union . . . . . . . . . . . . http://www.mountunion.edu/music . . . 43

Hetzer Tours & Charters, Inc. . . . . . . . . . . http://www.hetzertours.com. . . . . . . . . . 111

West Music Company. . . . . . . . . . . . . . . . . . . . http://www.westmusic.com . . . . . . . . . . . . 38

Indiana University . . . . . . . . . . . . . . . . . . . . . . . http://www.music.indiana.edu. . . . . . . . . 101

Wittenberg University. . . . . . . . . . . . . . . . . . . . http://www.wittenberg.edu/music. . . . . . 97

Kent State University. . . . . . . . . . . . . . . . . . http://dept.kent.edu/music. . . . . . . . . . . . 37

Wright State University. . . . . . . . . . . . . . . . . http://www.wright.edu/music/. . . . . . . . . . 53

Malone University. . . . . . . . . . . . . . . . . . . . . http://www.malone.edu/music . . . . . . . . 60

Yamaha Corporation of America. . . . . . . http://www.yamaha.com. . . . . . . . . . . . . IBC

Marietta College. . . . . . . . . . . . . . . . . . . . . . . http://www.marietta.edu/~musc/. . . . . . 40

Youngstown State University. . . . . . . . . . http://www.ysu.edu/dana. . . . . . . . . . . . . 81

Messiah College . . . . . . . . . . . . . . . . . . . . . . . . http://www.messiah.edu/conducting. . 61 Miami University . . . . . . . . . . . . . . . . . . . . . . http://www.muohio.edu/music. . . . . . . . 39

Bold signifies a Corporate/Institutional Partner

Music & Arts. . . . . . . . . . . . . . . . . . . . . . . . . . . http://www.musicarts.com. . . . . . . . . . . . . . 9

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TRIAD

This comprehensive education tool brings harmony training, rhythm training and ensemble timing together in one convenient educator resource. It enables music educators to clearly demonstrate for students how to tune individual notes within chords, so that entire chords may be tuned. The HD-200 Harmony Director helps musicians understand how their parts fit into the complete harmony of the ensemble.