TRIAD - FALL 2014

The Official Publication of the Ohio Music Education Association

FALL FEATURE: LIVING LEGENDS “The wonderful look students have on their faces when something is good makes it all worthwhile.”

- Dr. Donald E. McGinnis

October/November 2014 Vol. LXXXlI, No. 1

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IN THIS ISSUE...

FROM THE DESK OF...

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Editor of TRIAD - Matthew Warner OMEA President - Terry Herschman

LIVING LEGENDS FEATURE 12

A Desire to Succeed: Dr. Donald E. McGinnis Katherine Borst Jones; The Ohio State University

TEACHING TIPS 42 BAND - Dr. Jeffrey D. Gershman; Capital University 46 CHOIR - Dr. Lisa Wong; The College of Wooster 48 GENERAL MUSIC - Nathan B. Kruse; Case Western Reserve University 52 ORCHESTRA - Ricardo Averbach; Miami University 54 PEDAGOGY - Richard Edwards; Ohio Wesleyan University 56 TECHNOLOGY - Dr. David Brian Williams; Illinois State University Emeritus

Dr. Rick Dammers; Rowan University

MUSIC MASTERCLASS 60 63 66 68 70

BRASS - Lucas Reno Borges; Ohio University PERCUSSION - Roger Braun; Ohio University STRINGS - JulieAnn M. Bernard; Centerville City Schools VOCAL - James W. Tipps; Wright State University WOODWINDS - John Kurokawa; Wright State University

NEWS & COMMITTEE REPORTS 72 79 86 90 92 94 95 96 97

Adjudicated Events Higher Education News In Memoriam Jazz Education Connection of Ohio Music In Our Schools Month Ohio Choral Directors Association Ohio Collegiate Music Education Association OMEA General Music OMEA Teacher Evaluation

PROFESSIONAL DEVELOPMENT & ASSESSMENT 99 Workshops, continuing education, camps, etc.

100 TEACHER EVALUATION - Rachael Fleischaker; Canton City Schools 104 CURRICULUM & ASSESSMENT - Shawn Reynolds; Howland Local Schools 5 18 24 108 110 110

Information Network Corporate/Industry Partners 2015 OMEA Professional Development Conference Section OFME Music Education Donor Form OFME Donors TRIAD Publication Schedule & Advertising Index

OCTOBER/NOVEMBER 2014

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.omea-ohio. org three times a year - with Oct/Nov, Dec/Jan, and April/ May issues.

All news releases should be sent to the editor. All news releases received by the editor will be considered on the basis of news, value, and timeliness to the music education profession in the state of Ohio. All advertising space and business inquiries should be directed to the OMEA Director of Business. An Insertion Order or a Space Reservation Form must be submitted for ads to be printed.

TRIAD reserves the right to reject any advertisement.

The statements of article authors and/or advertisers are not necessarily those of the magazine or association, and the right to refuse any article/advertisement is reserved.

OMEA is not responsible for the URL linking in this publication in terms of destinations or operation. All links are tested in advance for validity to intended sources, but potential distortions may occur beyond the control of OMEA and/or the URL link source.

OhioMEA Online Publication Policy on Post-Publication Changes - The Ohio Music Education Association places the highest importance in the integrity of our publications posted online. We realize that despite the competent efforts of the editor, authors, contributors, advertisers, and OMEA staff, posted content may have errors or desired alterations identified after the proofing process is completed. Once a publication is posted online, it will be considered as ‘final’ and no further changes, updates, or corrections will be made. The electronic archiving of our publications for official record is taken seriously and all online publications should be considered equitable to print venues, without alterable possibilities once posted for public viewing.

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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 Dane Newlove Director of Adjudicated Event Materials and Awards 419.394.2232-O ae_materials_director@omea-ohio.org

OCTOBER/NOVEMBER 2014

OMEA TRUSTEES Terry Herschman President president@omea-ohio.org

OCMEA OFFICERS John Barrett OCMEA President ocmea_president@omea-ohio.org

Michael Crist President-Elect president_elect@omea-ohio.org

Patrick Specht OCMEA President-Elect ocmea_president_elect@omea-ohio.org

Patricia Meeks Immediate Past-President past_president@omea-ohio.org

Chelsea Hillard OCMEA Secretary ocmea_secretary@omea-ohio.org

John Veneskey Secretary secretary@omea-ohio.org

Michael Reese OCMEA Editor ocmea_editor@omea-ohio.org

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

Alexander Looney OCMEA Treasurer ocmea_treasurer@omea-ohio.org

Benjamin Factor Treasurer treasurer@omea-ohio.org 2014-2015 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 Shawn Reynolds Curriculum & Assessment Brian Laasko Howland Middle School Technology McKinley High School 5

The trustees have spent many hours in official meetings and communications since I started my term as editor a year ago. These sessions are always educational to me, as I learn something new about OMEA’s history, activities, and significance. Sometimes, though, some of the best ideas come out of the informal conversations that occur around these meetings and e-mails.

It was during one of these conversations that we were musing about some of the truly incredible figures in music education that Ohio has produced.

Roger Hall noted that some of these figures have passed away and, unfortunately, no one recorded some of their thoughts, experiences, and philosophies that made them successful and renowned in music education beyond Ohio. Wouldn’t it be great to talk to some of these people and learn from the rich lives they have lived?

Living Legends, a new series of TRIAD articles, will do just that. Our first Living Legend, appearing in this issue, is Dr. Donald E. McGinnis. Katherine Borst Jones, former student and present friend of Dr. McGinnis, has conducted extensive interviews of Dr. McGinnis and has compiled some fascinating nuggets of wisdom and I hope you will enjoy reading and learning from this glimpse into the mind of one of Ohio’s truly legendary music educators.

As I read the words of Dr. McGinnis, it became apparent how fitting it is that he is our first Living 6

Legend. He refers often to the importance in his life and musical career of learning from the best by watching, listening, and emulating what they do. That is, in large part, what the Living Legends series is all about: bringing some of our best music educators into the spotlight so that we might learn from them.

Another important feature of the Living Legends series is its historical contribution. Ohio has been a significant place for music education, and I hope that this series of articles will help us record some of that history while it is still available to us. This issue, for example, will include links to additional resources on our website, such as a timeline of Dr. McGinnis’s life and career, additional photos, and other information.

Finally, I hope that these articles will challenge all of us to be our best. Whether we are internationally known or just celebrities in our own classrooms, we each leave behind an important legacy. Students will remember us forever. Colleagues can be enriched by our partnerships. Each of us changes the course of history, every day! I hope the Living Legends series will inspire all of us to live as legends.

Dr. Matthew Warner is Middle School Band Director at Cincinnati Hills Christian Academy. He holds a DMA in Music Education from Boston University, and a M.Hum. in Music and B.M. in Music Education from Wright State University. He serves on the OMEA Board of Trustees as Editor of the TRIAD. TRIAD

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For those of you who do not know me, as a conductor I hate, dread and avoid talking to an audience during a concert. After a concert, I am the first to admit how poorly my little talk went and laugh about my ineptitude. Public speaking is not one of my strengths.

The 2014 class of the OMEA Benner Leadership Academy was introduced to the value of “strengths training.” The concept of strengths-based leadership has flourished since the American psychologist Donald Clifton began a research project with the Gallup organization in 1988. The attendees at our OMEA Leadership Academy took the Gallup StrengthsFinder® survey prior to their arrival and were provided with the results of the test, which identified each person’s Top Five strengths.

At the academy, the participants began to understand the value of building on those strengths for success in both leadership and in their teaching.

Not a surprise to me, Communication and WooTM did not turn up in my Top Five strengths. That accounts for my weakness in talking to an audience “on the fly.”

At times, I have decided I would get better at public speaking and have tried to “think myself ” into becoming that person. But, since it is not one of my strengths to begin with, all my efforts have only helped me to avoid complete failure in that area. I ultimately accepted this weakness, and I now have the sense to prepare remarks ahead of time, rely on notes, or ask a student 8

whose strength is communication to speak to the audience.

The Leadership Academy encouraged the participants to maximize their strengths rather than being consumed by ongoing and daily attempts to turn weakness into strength. Writing in Now, Discover Your Strengths, Don Clifton and Marcus Buckingham say: “You will excel only by maximizing your strengths, never by fixing your weaknesses. This is not the same as saying ‘ignore your weaknesses’… “The point here is not that you should always forgo this kind of weakness fixing. The point is that you should see it for what it is: damage control, not development. And as we mentioned earlier, damage control can prevent failure, but it will never elevate you to excellence.”

With regard to the highest-level performers, Clifton and Buckingham wrote: “When we studied them, excellent performers were rarely well rounded. On the contrary, they were sharp…Whatever you set your mind to, you willbe most successful when you craft your role to play to your signature talents most of the time.

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The ideas above lead me to this thought: in an organization or in our classrooms, individuals with obvious strengths and unique “sharp” skills contribute to well-roundedness in a way that, singularly, we cannot achieve.

Now, I invite you to be defined by your strengths rather than by your weaknesses. I also challenge you to celebrate this phenomenon in your classroom and in your school year as well. Your individual students have strengths that will soon become apparent. In maintaining your teaching environment, rely on the student who enjoys orderliness and organization. Relish the section-leader with a knack for error-detection. Rely on the singer with perfect pitch. Let the student with responsibility organize materials.

Encourage the positive thinkers and strategists to develop projects for the greater good. Encourage students who are consistent and fair to be involved in ensemble councils. Allow students with communication skills to speak before parent and administrative groups. Allow the creative types to design programs, maintain bulletin boards, and collaborate on advocacy materials. Most impressively, if you can identify these and other strengths in marginal students or at risk stu-

dents, and find ways to help them to maximize their own strengths, you are being diligent in your responsibility. You will help them to contribute and find success. You will model positive behavior to the other students, who in turn, may learn to embrace their own and others’ strengths rather than battle weaknesses.

I wish you success as you capitalize on your strengths and those of your students in the new school year!

If you are interested in slightly more information about development of strengths as a theme for success, you can find interesting notes entitled “Don Clifton and the Gallup Organization’s Work” at Mike Pegg’s Positive Spirit website: http://www.thestrengthsfoundation.org/don-clifton-and-the-gallup-organizationswork-on-strengths.

For book summary and complete list of strengths with explanation: http://memberfiles.freewebs. com/17/64/51416417/documents/StrengthsFinder_ Book_Summary-1.pdf.

The book referenced is: Now, Discover Your Strengths by Marcus Buckingham and Donald O. Clifton, Ph. D. Free Press, 2001. ISBN-13: 9780743201148.

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LIVING LEGENDS A Desire to Succeed: Dr. Donald E. McGinnis Katherine Borst Jones; The Ohio State University

From humble beginnings, “with no scholarship and no background,” Donald E. McGinnis rose to the pinnacle of the university band director world and the flute and clarinet performance world through his career of over sixty years.

He was told that “he would not succeed in music” when he entered the Oberlin Conservatory of Music. His professors Arthur Williams and George Waln “hesitated to let him be a five year clarinet music education/performance major.”

“Both parents were musical. My father played the piano. We gathered around the piano to sing. I fell in love with music from a very early age…being lucky enough to have great teachers who inspired me, that I had the talent, if I worked at it…I had tremendous drive and focus…You don’t take ‘no’ for an answer…One must have a desire to be outstanding…You have to be passionate about music to do it.” Dr. Donald E. McGinnis, throughout every aspect of his career, has had the desire “to be the most outstanding he can be.”

Thousands of musicians have been inspired by Dr. McGinnis in rehearsals, clinics, live concerts where he played and conducted, recordings, private lessons and conducting lessons. His students both cherish and revere him, staying in touch through the decades. Why? Because he challenged them to be better than they thought they could be. A man of high standards, integrity and moral fortitude and a work ethic second to none, he demanded the best his students could give. Why did they do it? Because he demanded the very same of himself.

He attended recitals and weddings of his students, showing them love and respect at all times. At his 90th birthday celebration his students came from all over the world to return that love and respect.

A conductor, teacher, composer, performer, administrator, each of the highest level, Dr. Donald E. McGinnis will always be known as the esteemed conductor of the renowned Ohio State Concert Band, which he brought to national prominence over the course of his twenty-six years conducting the ensemble. The Concert Band served as a model for public school programs throughout the state of Ohio and the nation, partially due to fifteen years 12

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(1964–1979) of recordings of the OMEA required contest music, as well as on campus performances, tours throughout the state, and performances at national venues. The Concert Band also released recordings such as the 30th Anniversary Concert, On the Lighter Side, March Masterpieces (with invaluable help from Sousa biographer Paul Bierley), and AllPersichetti (with the composer as guest conductor).

Dr. McGinnis continues to be well known as a teacher of woodwinds, especially the clarinet and flute, having performed extensively on both in the Columbus Symphony as well as having taught numerous private students throughout his long career.

Not only has he recorded two solo clarinet albums, but he also recorded music for flute and clarinet, playing both instruments! He presented clinics as a Selmer Clinician throughout the country and at the Midwest Band and Orchestra Clinic, among others.

He continues to teach private lessons today at the age of 96.

The McGinnis legacy is apparent today through the many successful students who are world class performers, teachers, and conductors throughout the world in public schools, colleges and universities, orchestras, and military bands. His Symphony for Band, praised by Percy Grainger, written before the Hindemith Symphony, remains a testament to his compositional expertise. And his military service is an inspiration to all. A proud father of two, and grandfather, he has been married to his wife, Ruth for over sixty years.

It has been my privilege to know and study with Dr. McGinnis since 1970 when I came to Ohio State as a graduate student in flute, studying with him privately as well as performing with the Concert Band, including at Carnegie Hall. Dr. McGinnis has been my mentor, friend, and inspiration ever since.

I have had the pleasure of interviewing Dr. McGinnis over the course of many months. What follows are some of his many ideas that may prove helpful to all of us in the music field. I have used the DMA document, The Professional Life of Dr. Donald E. McGinnis by Dr. Jaime Rowe Titus, as a guide. Her document, available on OhioLink, contains much information that cannot be provided here.

MCGINNIS ON CONDUCTING AND REHEARSALS “At Ohio State my rehearsals were 48 minutes in length. There was not much time for a warm-up. I had to assume students came to rehearsal prepared and ready to play.

If you have a warm-up, you must ask yourself, ‘Why do you have one? How long should it be?’”

“I would try to gauge the players in the group.

Flutists could go right into it, but I would think about the brass and double reed players. I know that young school players benefit from Bach chorales. We would have benefitted from them, but I felt I had to use every second of time doing the music. I would choose what we needed to do most in every rehearsal.”

“A conductor’s mission is to know what is good and bad.”

“You have to have a concept of what you want the group to sound like, or in some cases what you have to settle for…Your ear must be the judge…The first time I ever heard Revelli and the Michigan Band, they

1936 - McGinnis at age 19 OCTOBER/NOVEMBER 2014

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played the J.S. Bach Toccato and Fugue in D minor. I was overwhelmed with the beauty of that sound, it was life changing. I knew I would not have the audacity, patience, or control of players to get that sound. So I decided to go for a different sound. The clarity of my sound was a goal. The cleanness.”

“I tried not to mention other bands in rehearsals, but would talk about the Berlin Orchestra under von Karajan or the Concertgebouw orchestra. I was always salivating to get that sound. I took recordings out of the library to continually learn.”

“I wanted to know what was going on. I recorded most of my rehearsals and studied them, even if just on my cassette player in my car. I wanted to know where we were with a piece of music. This listening helped me to analyze what I needed to do next. I was constantly thinking about what to do with a piece of music.”

“As a conductor, don’t always look in the same place, in the same way. Use all kinds of expressions.”

“Another factor is the fact that you don’t hear back in recordings what a great hall gives you, like a Carnegie Hall or Philharmonic hall.”

“I was listening to an opera with Levine, and it was just like Szell. So clear, everything was exactly there. I never saw him conduct, but I’ll bet his stick technique is marvelous.”

“I spent a great deal of time and emphasis building my ability to conduct. Good players get bored with hearing conductors talk. If you watch what I am saying with the stick, facial expressions, and left hand, you won’t have to hear me talk. That was how I was able to get a lot done with the conducting. I also made it obvious how much I cared about the music.”

“I am told by Richard Blatti, Bob Reynolds, and Craig Kirchhoff, three of the truly great wind

March 1998 - Grandpa with 4 year old granddaughter Erika 14

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2007 - 90th Birthday Concert/Dinner Celebration conductors of our time, that they had an encounter with a composer who said he was so motivated by playing in a regional band that I conducted, by how much I cared about the music, that the experience made him become a composer.”

“It is a good fortune for a conductor to be an excellent, superb performer. I labored hard and long hours to become a superior technician on the clarinet.

So I was constantly thinking about how to do it easier without going through everything. You must perform and observe outstanding conductors.”

“I studied, observed rehearsals of others, asked questions and, used Max Rudolf ’s Grammar of Conducting and Elizabeth Green’s The Modern Conductor. Elizabeth Green taught a looping technique. Horizontal movements. I spent every hour learning what I could so that if you watch what I am conducting you can play it!”

“A lot of it was from reading, attending concerts, believing that conducting technique is the best rehearsal technique.”

“And I kept my own performance career going, performing in the Columbus Symphony and playing chamber music with piano, woodwind quintets and string quartets. Inspiration comes from great music OCTOBER/NOVEMBER 2014

and great performers…If you don’t have the good fortune to play with great musicians, you must listen to great recordings. Play in as many fine groups as you can to enrich. I was constantly reaching out for something else that is better. Learning is for a lifetime.”

“The conductor’s musicianship, knowledge of the harmonic series and intonation tendencies, knowledge of pitfalls, sounds of the instruments, the temperature of the room, all of these things matter.

School conductors must know how the instruments work. Biggest problem is a lack of breath.”

“Use catch-phrases from great teachers…I was fortunate to have great faculty teaching applied music at Ohio State.”

“One of the huge problems that outstanding band directors of middle and high school bands face is clarinet reeds. Despite all the research, there is no huge solution to it, although it seems that plastic reeds may be a solution. David Thomas of the Columbus Symphony uses them. Helping the reed players is essential.”

“Rhythm and intonation are the two essential items to be a principal player. Good breath support is a given.”

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The last Family picture taken 5/11/07 - Erika, Martha, Rebecca, Ruth, and Don “One of the things that is important to me—and I don’t know where I got it—is grouping. Grouping is one of the most important things in phrasing. Claude Monteux, the great conductor and flutist, said that Papa, his father, Pierre, talked about taking a Long Island phone book and tearing it. This demonstrates the tension of the musical line. Musical line is one of the hardest things to teach.”

“How did I get good intonation? I constantly analyzed in composition study, and at the piano. Determine what key you are in, what is the tonic, where are the seventh chords and where do they resolve? One of the hardest chords to tune is the dominant seventh. Teach students to use their ear. Don’t go down the line tuning each student to a tuner. That could be a waste of time. Listen!”

“Apparently someone came up to Brahms after a performance of one of his symphonies and said, ‘You can tell people loved hearing your symphony.’ Brahms said, ‘That is fine. I had hoped it would change their lives.’

When you step on the podium, like my family doctor said, the moment you start thinking about the money you make, you lose your artistry. The wonderful look students have on their faces when something is good makes it all worthwhile.”

“When I hear back performances, I think you get certain things that you go for and then it is difficult on the other side of the coin. Attack, staccato, integration of sound. Clarity.”

“When you listen to my recordings, you will hear great direction of line, my pushing for support of the tone. The sound was direct, always air pushing.”

“My rehearsal style was greatly influenced by great orchestra conductors. Early on I fell in love with Toscanini. I couldn’t imagine how anything could be any better. I sat in the front row for a rehearsal of Toscanini with the NBC Symphony and was amazed. Later I went to study flute with Maurice Sharp of the Cleveland Orchestra and thus had the opportunity to hear the orchestra. I became such an admirer of their great conductor, George Szell.”

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MCGINNIS ON MOTIVATION “No substitute for private lessons.....Show students how much you care for them.....We are inspired, we are motivated, we are thrilled, we are turned on, we are turned off by various teachers; we have our own particular choices for listening (orchestras), in reading.....I hear someone do something great. I want to emulate that.....It is a fine line between success and failure.”

MCGINNIS ON PERSONAL PREPARATION “Analyze your background. Find your deficiencies and go to work on them.....You must have the unrelenting need, or feeling of inferiority, to continue to learn. I went about doing something about my deficiencies.....

The conductor has to gradually work with what they have in the group. And then work with a concept of the sound you want. Music must prevail. Must have tremendous work ethic, listening involvement,

constantly listening.....To be really outstanding in what you do, you constantly compete with a standard of ‘what if.’ I had, great men that I was trying to emulate—William Revelli, Frederick Fennell. I was constantly working, trying to be myself, but as good as they were.....As a conductor, do not feel challenged or defensive about how good someone else is; instead, emulate what they do well.....No matter how old you are, if your mind is still okay, you never stop competing with standards. I hear somebody do something great, I wish I still have some life so I can emulate that.....You aren’t a great teacher unless you have great students.

Cooperation is a team effort between a great ensemble director and great studio faculty or private teachers.”

For more information about Dr. Donald E. McGinnis, including a timeline of his career, conducting catch-phrases, and photos, visit: http://omea-ohio.org/legends/index.html

About the Author Katherine Borst Jones, Professor of flute at The Ohio State University, is co-principal of the ProMusica Chamber Orchestra, principal of the New Sousa Band and a member of the Columbus Symphony Orchestra and the flute, viola, harp trio, COSMOS. She is past-president of the National Flute Association and recipient of their 2011 Distinguished Service Award.

OCTOBER/NOVEMBER 2014

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10167 Royalton Rd. Unit A North Royalton, OH 44133 m.malko@royaltonmusic.com www.royaltonmusic.com

Wright State University School of Music

Yamaha Corporation of America

3640 Colonel Glenn Hwy. Dayton, OH 45435 victoria.chadbourne@wright.edu www.wright.edu/music

18

Bob Rogers Travel

Bowling Green State University College of Musical Arts

Moore Musical Arts Center Bowling Green, OH 43403-0292 ajvanw@bgsu.edu www.bgsu.edu/music

QuaverMusic.com

1706 Grand Avenue Nashville, TN 37212 info@QuaverMusic.com www.quavermusic.com/preview

Summit Tour & Travel, Inc. P.O. Box 682240 Orlando, FL 32868-2240 info@summittourtravel.com www.summittourtravel.com

6600 Orangethorpe Avenue Buena Park, CA 90620 apradia@yamaha.com www.yamaha.com

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L E V E L l l - O M E A PAT R O N Capital University Conservatory of Music

Cleveland State University

The College of Wooster Scheide Music Center

Music Travel Consultants

Wooster, OH 44691 nditmer@wooster.edu www.wooster.edu/music

7920 Georgetown Road Suite 700 Indianapolis, IN 46268 rjcampbell@music-travel.com www.music-travel.com

Muskingum University

163 Stormont Street New Concord, OH 43762 duttill@muskingum.edu www.muskingum.edu/dept/music

Ohio Northern University

Otterbein University

Soundwaves Recording

275 Eastland Road Berea, OH 44017 lciszczo@bw.edu www.bw.edu/conservatory

One College & Main Columbus, OH 43209 lroseber@capital.edu www.capital.edu/music

525 South Main Street Ada, OH 45810 p-warner@onu.edu www.onu.edu/music

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

The University of Akron School of Music

University of Dayton

Guzzetta Hall 260 Akron, OH 44325-1002 concerts@uakron.edu www.uakron.edu/music

OCTOBER/NOVEMBER 2014

300 College Park Dayton, OH 45469-0290 musadms@udayton.edu go.udayton.edu/music

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

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

21

CORPORATE INSTITUTIONAL PARTNERSHIP

Baldwin Wallace University

LEVEL l - OMEA SPONSOR Case Western Reserve University

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

CORPORATE INSTITUTIONAL PARTNERSHIP

Heidelberg University

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

Malone University

EPN Travel Services

1784 West Schulykill Road Douglassville, PA 19518 tourinfo@edprog.com www.epntravel.com

Marietta College

310 East Market Street Tiffin, OH 44883-2462 jowen@heidelberg.edu ppage@heidelberg.edu www.heidelberg.edu

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

215 5th Street Marietta, OH 45750 music@marietta.edu www.music.marietta.edu

Miami University Music Dept.

Ohio University School of Music

University of Mount Union

501 S. Patterson Ave, 109 Presser Hall Oxford, OH 45056 ledforcj@miamioh.edu www.miamioh.edu/sca/ academics/departments/music

440 R. Glidden Hall Athens, OH 45701 hayesc1@ohio.edu kasler@ohio.edu www.finearts.ohio.edu/music

1972 Clark Avenue Alliance, OH 44601 music@mountunion.edu www.mountunion.edu/ music-major

Youngstown State University Dana School of Music One University Plaza Youngstown, OH 44555 mrcrist@ysu.edu www.ysu.edu/dana

22

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Practice Audition Day • for High School Seniors Friday, October 17, 2014 High School Honor Band Weekend Friday, January 16 - Sunday, January 18, 2015 Online Audition Deadline: Friday, October 31 at midnight Middle School Honor Band Festival Saturday, February 21, 2015 Online Nomination Deadline: Thursday, January 8 at 9 a.m.

Junior Visit Day • for High School Juniors Friday, April 10, 2015 Audition Days • for the 2015 - 16 Academic Year Wednesday, December 10, 2014 Friday, January 16, 2015 Saturday, January 24, 2015 Saturday, February 14, 2015 For admissions and event information visit music.osu.edu

OCTOBER/NOVEMBER 2014

23

2015 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE

2015

AN INVITATION FROM THE DIRECTOR OF PROFESSIONAL DEVELOPMENT 2015 OMEA Professional Development Conference Moving Day is Almost Here – Are Your Bags Packed and Ready to Go? How many times have you moved? Was it always filled with fun and laughter? Was it sometimes bittersweet?

Was it due to new opportunities or cutbacks and downsizing? Was it always stressful? Moving can be all of these things but it is never boring! Whether it’s up and down the hall with a cart or on snow covered back-roads between buildings, travelling has never deterred music educators from doing their best. After three great years in our Columbus “home”, the OMEA PDC Conference has arrived on the north shore. Please plan on joining us in Cleveland for the 2015 Ohio Music Education Association Professional Development Conference-—“Music Education On the Move”.

The 2015 PDC team of content chairs, committee chairs and OMEA staff has worked to secure the top presenters and clinicians in the field of music education from Ohio and beyond. There will be ample opportunities to explore topics such as assessment, lesson design and rehearsal technique as well as content specific pedagogies. OMEA has collaborated with affiliated partners to provide sessions targeted to your needs and interests. In addition to our fantastic All-State groups, the blind-audition selection process has resulted in a selection of outstanding ensembles of all shapes and sizes. The exhibit hall in Cleveland’s new convention center will be filled with familiar faces and a few welcome additions. We hope that the long-awaited return to the north shore will encourage regional participation from many who have been unable to make the trip to Columbus or Cincinnati in recent years.

Many of the successful 2014 initiatives will be returning (with some tweaking), including the dedicated exhibit hour and the opening night lineup. Lack of space was a big concern during our tenure in Columbus. Cleveland has been full of challenges and opportunities in this area. High-demand sessions will be repeated to allow attendees more flexibility in scheduling. The conference will be spread across several venues to accommodate all disciplines and the general schedule has been carefully analyzed to avoid conflicts when possible. The HQPD session has been moved to Friday morning to allow for greater participation and graduate credit will once again be offered through Ashland University.

A good mover requires experience to handle the big items and a personal touch to take care of the things that matter to you. Relax! The 2015 PDC committee is your official moving company. It is our goal to make sure everything you value arrives in one piece. Put in your request now to join us in Cleveland, February 5-7, 2015.

Mark Hensler OMEA Director of Professional Development pd_director@omea-ohio.org 24

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2015 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE

2015

2015 PROFESSIONAL DEVELOPMENT COMMITTEE 2015 OMEA Professional Development Conference

Mark Hensler Director of Professional Development

ALL-STATE CHAIRS Frank Cosenza

Jason Branch

All-State Co-Chair

All-State Co-Chair

CONTENT CHAIRS Robert Tanis Band

Kent Vandock Choral

BethAnn Hepburn General Music

Paul Ferguson Jazz

Trista Emmons Orchestra

Dale Nawrocki On-Site Registration

Thomas Deep Properties Co-Chair

Daniel Crain Properties Co-Chair

STANDING CHAIRS D. Scott Eversdyke Adjudicated Events Stephen Lytle OCMEA

Richard Edwards Higher Education Birch Browning Research

Kay Edwards Multi-Cultural Lalene Kay Special Learners

ALLIED ORGANIZATIONS Bill Burns JECO Dara Gillis OCDA OCTOBER/NOVEMBER 2014

Tim Katz OAAE Gretchen Zunic OSTA

Donna Collins OAC Justin Riley TI:ME 25

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Fully accredited by the National Association of Schools of Music Offering the following degree programs: • Bachelor of Music in Music Education or Music Performance • Bachelor of Arts in Music or Bachelor of Music in Music Performance with concentrations in Theory & Composition, Music History & Literature, or Applied Studies • Bachelor of Fine Arts in Musical Theatre • Arts Administration Minor with ample internship offerings • Outstanding opportunities for double majors Explore ONU’s music department or find audition dates at www.onu.edu/music

Named as one of the top 200 programs in the nation for creative college-bound students in Creative Colleges: A Guide for Student Actors, Artists, Dancers, Musicians and Writers.

Outstanding orchestra, wind, choral and piano programs Exceptionally accomplished and dedicated faculty • State-of-the-art facilities • Generous scholarships

Pre-Registration Form

2015 OMEA Professional Development Conference Cleveland, Ohio • February 5-7, 2015

2015 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE

TO PRE-REGISTER: 1.

2.

3.

Enclose Personal Check/Money Order or School Check payable to OMEA. No purchase orders accepted.

Send to: OMEA Conference Pre-Registration, P.O. Box 1067, Massillon, OH 44648 • Mail-in pre-registration must be postmarked by January 16, 2015. Postmarks after this date will not be accepted.

• All refund requests must be made in writing. Refunds after January 16, 2015 will be assessed a $15.00 processing fee.

• No refunds after January 30, 2015.

Online pre-registration will be open November 1, 2014 through January 23, 2015 at www.omea-ohio.org.

PLEASE PRINT CLEARLY - NAME WILL APPEAR ON BADGE ALL INFORMATION BELOW IS REQUIRED - BADGES WILL BE MAILED USING THIS ADDRESS. MEMBER NUMBER:

EXPIRATION DATE:

FIRST NAME: _________________________________________

OMEA DISTRICT: _________

LAST NAME: ___________________________________________________

SCHOOL DISTRICT: ____________________________________________________________________ YEARS OF EXPERIENCE: _________ Home Address: _______________________________________________________________________________________________________ City: ______________________________________________________________________ State: _______________ Zip: _________________ Home Phone: ______________________________________________ School Phone: ___________________________________________ Personal Email Address: ________________________________________________________________________________________________ CHECK ALL THAT APPLY. ___ Elementary

___ Middle School/Junior High

___ Band

___ Choral

___ High School

___ General Music

___ Jazz

___ College Faculty

___ College Student

___ Orchestra

OMEA MEMBER

_______ Pre-Registration $125 _______ With HQPD Track* $135 On-Site Registration $150 (HQPD Not Available)

NON-MEMBER

_______ Pre-Registration $225 _______ With HQPD Track* $235 On-Site Registration $250 (HQPD Not Available)

___TI:ME

OMEA PROFESSIONAL DEVELOPMENT CONFERENCE CLEVELAND, OHIO FEBRUARY 5-7, 2015

*HQPD TRACK - This optional High Quality Professional Development track includes an overview session, multiple required sessions and a written reflection. Next step: update your IPDP to include OMEA HQPD participation and submit the plan along with documentation (see OMEA website) to your LPDC for approval PRIOR to attending the OMEA conference. The optional HQPD track is only available during pre-registration. (This is not for college credit.) Requests for proof of attendance without HQPD participation will be denied.

NON-TEACHING FAMILY MEMBER of ABOVE Registrant Name: ______________________________________________

_______ Pre-Registration $40 On-Site $50

OMEA MEMBER SATURDAY ONLY (Saturday only badges will not be mailed)

_______ Pre-Registration $50 On-Site $60

OCMEA MEMBER College/University Name: ____________________________

_______ Pre-Registration $40 On-Site $55

RETIRED OMEA MEMBER (Includes Spouse) Spouse Name: _______________________________________

No Charge

28

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2015 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE

2015 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE

SELECTED PERFORMING ENSEMBLES Bay Village High School A Cappella Choir Blue Lake Festival Band Bowling Green State University Collegiate Chorale Brass Band of Columbus Cleveland Orchestra Youth Orchestra Cleveland State University Chamber Winds Cleveland State University Faculty Jazz Septet Cleveland Youth Wind Symphony I Cuyahoga Falls High School Gold Tones Jazz Orchestra Ellsworth Hill Elementary “One Beat” World Drum Ensemble Firestone High School Woodwind Ensemble Hilliard Bradley High School Women’s Chorale Hudson High School Chamber Orchestra Kent State University Jazz Ensemble Kettering Fairmont High School Eleventh Hour Kimpton Middle School Jazz Band Lakota West High School Symphonic Winds Medina Community Band Neo-Tessares Saxophone Quartet Perry Symphonic Winds Perrysburg Junior High School Orchestra Pickerington North Percussion Ensemble Solon High School Sinfonia Orchestra Solon Middle School Mixed Treble Ensemble Springfield Middle School 8th Grade Band Stausser Elementary School Choir University of Dayton Chorale Youngstown State University Wind Ensemble YSU Dana Clarinet Ensemble

OCTOBER/NOVEMBER 2014

29

Housing Form

2015 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE

2015 OMEA Professional Development Conference Cleveland, Ohio • February 5-7, 2015 Reservations can be made by choosing ONE of the following options:

All reservations require a credit card. No checks will be accepted.

Credit cards expiring 02/15 and earlier are not valid and will not be processed.

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

2.) FAX: 216-621-5967 - Do not mail after faxing.

3.) MAIL: Send a completed form (one copy per room) to: Positively Cleveland Housing Bureau Attn: Casey Gwin, CMP 334 Euclid Ave, Cleveland, OH 44114

Deadline for Special Rates is January 11, 2015.

• 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 11, 2015, rooms and rates are based on availability.

HOTEL RATES Hotel

Single

Double

Triple

Quad

Cleveland Marriott at Key Center

$159

$159

$159

$159

Doubletree by Hilton Cleveland Downtown-Lakeside

$120

$120

$120

$120

Hampton Inn Cleveland Downtown

$114

$114

$114

$114

Westin Cleveland

$159

$159

$179

$199

Rates quoted above are subject to 16.5% tax (Subject to change).

Hotel Preference: 1. __________________________________________________ 2. __________________________________________________ 3. __________________________________________________ Arrival Date: _____________________________________________________ Departure Date: _ __________________________________ List Names of all occupants

Confirm reservation to: (Only one acknowledgement will be sent)

(List all occupants' arrival and departure dates if different.)

Name: _____________________________________________

____________________________________________________

Address:___________________________________________________________

____________________________________________________

City: _______________________________________________

____________________________________________________

State: ________________ Zip: _________________________

____________________________________________________

Phone: ______________________________________________

Room Type Preference*:

Fax: ________________________________________________________________

 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

Email Address:______________________________________ 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 2015 in order to be considered a proper deposit.

Special Requests* (please list)

  

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

American Express Visa Diner’s Club

 

Master Card Discover

Card # 



Non-Smoking

 Other: Please list

____________________________________________________

Changes/Cancellations

Name: ____________________________________________________

Continue to use the OMEA Housing Bureau for all changes or cancellations through January 21, 2015 (4:00 p.m. EST) via internet, fax, or mail. After January 21, 2015, all new reservations, changes, and cancellations must go through the hotel.

Signature: _______________________________________

Do not contact the hotels directly until after January 21, 2015.

Expir. 

30

/ 

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Jeffers

2015 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE

2015 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE

THE OMEA HQPD TRACK OPTION • Are you planning to attend the 2015 PDC in Cleveland?

2015

• Are you in need of contact hours or verification of

completion for your IPDP or reimbursement purposes?

• Consider enrolling in OMEA’s HQPD track option.

HERE’S HOW IT WORKS: 1. Pre-register for the Professional Development Conference HQPD track option.

2. Attend required HQPD session on Friday morning from 8:00 AM – 9:15 AM. Attend a minimum of six additional sessions including two or more from the required list and the remainder of your own choosing. (“Choice” sessions attended on Thursday may count toward this requirement.)

3. Electronically submit a post-conference reflection to the Director of PD by February 23, 2015.

The format for this reflection will be available online and shared at the HQPD required session on Friday morning. A reflection rating of Exemplary or Satisfactory (using the HQPD rubric) completes the HQPD requirements.

4. Satisfactorily complete all requirements and receive a 10-hour instructional time certificate from the Ohio Music Education Association.

REMEMBER:

1. You must pre-register to qualify for this service.

2. Update your Individual Professional Development Plan to include the OMEA HQPD track option and submit the plan to your LPDC for approval prior to attending this conference.

Still undecided? Consider the many benefits of attending the PDC: • Relevant information and training on the latest research/trends in music education • Refresh and enhance your teaching skills • Explore the latest innovations in music technology • Network with master teachers, clinicians, colleagues and music industry leaders • Hear outstanding ensemble performances from across all disciplines See OMEA website, TRIAD and the Staccato Newsletter for more information on presenters, topics and performing ensembles.

Still not enough? How about graduate credit? Complete the HQPD track option and you’re almost there! Look for the Ashland credit page for more details or contact Mark Hensler at pd_director@omea-ohio.org.

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TRIAD

2015 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE

• Are you looking for affordable college credit?

• Do you need credit hours to renew your license

or for salary advancement?

• Would you like to get graduate credit every

year for something you are already doing?

• Why not take advantage of this special program

designed specifically for Ohio music educators?

Earn one (1) semester hour of graduate credit by completing the requirements outlined below. This credit is being offered through

ASHLAND UNIVERSITY. 1. Pre-register for the Professional Development Conference HQPD track option.

2. Visit the OMEA website for a link to Ashland University’s online registration system and enroll in the OMEA PDC course option.

3. Attend required HQPD required session on Friday morning from 8:00 AM – 9:15 AM. Attend a minimum of six additional sessions including two or more from the required list and the remainder of your own choosing. (“Choice” sessions attended on Thursday may count toward this requirement.)

4. Attend five additional sessions/concerts of your choosing.

5. Electronically submit a post-conference reflection to the Director of PD by February 23, 2015.

The format for this reflection will be available online and shared at the HQPD required session on Friday morning. A reflection rating of Exemplary or Satisfactory (using the HQPD rubric) completes the graduate credit requirement. The credit is offered on a S/U basis. All work will be submitted via email.

REMEMBER:

1. You must pre-register for the PDC to earn graduate credit.

2. This credit option will not be available on-site.

Please contact Mark Hensler at (513) 240-1572 or pd_director@omea-ohio.org for more information.

OCTOBER/NOVEMBER 2014

33

2015 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE

GRADUATE CREDIT OPTION - $199

S

OHIO UNIVERSITY chool of music

2015 Audition Dates Jan. 24, Feb. 14, Feb. 16, Feb. 21, 2015 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 13, 2014

Honor Band Festival December 4-6, 2014 Honor Choir and Orchestra January 16-18, 2015 Jazz Festival April 17-19, 2015 Ohio Summer Music Camp June 14-20, 2015

www.ohio.edu/finearts/music

740.593.4244 94250 • 7-14

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

2015 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE February 5, 6, 7, 2015, Cleveland, Ohio • Cleveland Convention Center Exhibitors as of August 11, 2014 and subject to change.

Heidelberg University School of Music Heritage Music Press Hetzer Tours & Charters, Inc. Interlochen Center for the Arts J.W. Pepper Inc. Jet Music Jupiter Band Instruments Kent State University Lake Erie Shores & Islands Liberty University Macie Publishing/Ed Sueta Music Publications Make Music, Inc. Malone University Marietta College Miami University Mollard Conducting Batons Morehead State University Motter’s Music Music & Arts Music Celebrations International Music Filing Solutions Music for All Music is Elementary Music Travel Consultants Musicians Repair Service Muskingum University National Association for Music Education (NAfME) Neff Company New Era/Crowne Excellence Noteworthy Tours Ohio Foundation for Music Education Ohio Northern University Ohio State University School of Music, The Ohio University Otterbein University Pearl Corporation Pee-Jay’s Fresh Fruit

Pellegrino Music Center Percussion Marketing Council Premier Tour and Travel QuaverMusic.com Rettig Music, Inc. Royalton Music Center/ Professional Suite Shirley’s Gourmet Popcorn Company Singing Buckeyes Soundwaves Recording StageRight Corporation Stanbury Uniforms, Inc. Midwest Band Stanton’s Sheet Music Stoller Enterprizes Straight A Tours Summit Tour & Travel, Inc. Super Holiday Tours Tiffin University Tone Deaf Comics University of Akron University of Cincinnati University of Dayton University of Mount Union VanderCook College of Music Wenger Corporation West Music Company Westminster College Wittenberg University Woodwind & Brasswind Wright State University Xavier University Yamaha Corporation of America Yankee Candle Fund Raising Young’s Screenprinting & Embroidery Youngstown State University Dana School of Music

2015 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE

Alfred Music American School Band Directors Association Anderson University Antigua Winds Ashland University Baldwin Wallace University Blue Lake Fine Arts Camp Bluffton University Bob Rogers Travel Bowling Green State University Breezin’ Thru Inc. Capital University Carl Fischer Music, LLC Case Western Reserve University Cedar Point - Kings Island Cedarville University Century Resources, Inc. Charms Office Assistant CIM K-12 Distance Learning Classic Pianos - Cleveland Cleveland State University College of Wooster, The Columbia College Chicago Columbus Pro Percussion Conn-Selmer, Inc. Custom Fundraising Solutions DeMoulin Brothers & Company Dynasty/DEG Music Products Eastman Music Company Educational Tours, Inc. Educational Travel Adventures Elvis Presley’s Graceland EPN Travel Services Festivals of Music/Music in the Parks Fred J. Miller Inc. Getzen Company GIA Publications, Inc. Great Day! Tours & Charter Bus Service Green Horn Group Travel Planners

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 2014

35

2015 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE

Ohio Music Education Association EXHIBIT HALL SHOW HOURS Exhibit Hall C – Cleveland Convention Center February 5 - 7, 2015 THURSDAY, FEBRUARY 5 12:55 pm Industry Service Award (Entrance to Hall C) 1:00 pm to 6:00 pm (Exhibits open to attendees) FRIDAY, FEBRUARY 6 9:00 am to 5:00 pm (Exhibits open to attendees) Foundation Auction in Lounge 4 to 5 pm SATURDAY, FEBRUARY 7 9:00 am TO 12:30 pm (Exhibits open to attendees)

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TRIAD

OMEA GR ADUATE RESEARCH FORUM

2015 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE

GRADUATE RESEARCH R O U N DT A BLE Thursday, February 5, 2015 10 a.m. – 3:30 p.m.

Featured Speaker: Dr. Robert Woody Dr. Robert H. Woody is associate professor of music education at the University of Nebraska School of Music. He earned a bachelor of music degree from the University of Nebraska - Lincoln and two master’s degrees (music education and educational research) and a Ph.D. in music education from Florida State University. Dr. Woody’s research deals primarily with the psychology of music. He is specifically interested in the cognitive mechanisms of expressive performance and the skill-based factors that contribute to participatory music involvement among people.

SCHEDULE

9:30 a.m Continental Breakfast

10:00 a.m.

Dr. Robert Woody – “Musician, Scholar, Detective: Research as Evidence Gathering.”

Noon Lunch break

1:30 p.m.

Graduate Research Roundtable

3:30 p.m.

Graduate Research Roundtable Ends

If you plan to participate, please register at http://tinyurl.com/GRF-2015.

Registering for the Forum will help us ensure sufficient food and space for this event.

OCTOBER/NOVEMBER 2014

37

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 2015 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE

2015 OMEA Professional Development Conference

CALL FOR PROPOSALS Submission Deadline: October 27, 2014 A graduate research roundtable session will be held at the 2015 OMEA Professional Development Conference February 5, 2015, from 1:30 p.m. to 3:30 p.m. 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 round 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 8–10 minute overview of their study, preferably with a PowerPoint presentation on their own battery-driven laptop computer. This will be followed by a 10–15 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 October 27, 2014. 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 2, 2014.

Online proposal submission: http://tinyurl.com/grr2015 If you have any questions about this process, please contact: Dr. Nathan Kruse at nathan.kruse@case.edu or 216-368-0675.

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TRIAD

OHIO MUSIC EDUC ATION ASSOCIATION Research Committee

RESEARCH POSTER SESSION 2015 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE

2015 OMEA Professional Development Conference

CALL FOR PAPERS Submission Deadline: November 1, 2014 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 5-7, 2015.

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: 1. 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.

2. To submit a report of any other type of original research project, student or faculty researchers may email 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.

3. 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.

4. 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, 2014. Only fully completed works will be considered.

Submissions should not have been previously published and should otherwise adhere to the MENC Research Publication/ Presentation Code of Ethics (http://tinyurl.com/NAfME-Ethics). E-mail the materials to Paul Louth [OMEApostersession2015@gmail.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 40 copies of the abstract and 5 copies of the completed report to distribute.

OCTOBER/NOVEMBER 2014

39

2015 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 Cleveland on Saturday, February 7, 2015. 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, submit a completed application. 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! 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 complete the form and mail by January 16, 2015 to: 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.”

40

TRIAD

TEACHING TIPS BAND Six Steps to Successful Programming

Dr. Jeffrey D. Gershman; Capital University It wasn’t really so long ago that the task of programming outstanding repertoire for our bands was a tedious one. We pored over state lists, asked colleagues for personal recommendations, and spent countless hours lost down the promotional recordings rabbit hole. Today, with the help of series like Best Music for Band (Manhattan Beach Music) and Teaching Music through Performance (GIA Publications, Inc.), it has become easier to find the very best of what our repertoire has to offer. But this is only the first step. It is imperative to remember that, while creating a high quality concert is built on a foundation of worthy repertoire, creating an enjoyable concert is all about how the pieces fit together. Here are six points to consider in helping create a memorable concert for both your musicians and your audiences.

PROGRAM ORDER To me, there is nothing more important when programming than creating that perfect flow of pieces that will sustain the audience’s interest throughout the performance. This can be achieved in three easy steps: 1. Get Them on Their Feet—The first thing I always select for the program is what piece will close the concert. This piece of concert prime real estate has but one criterion: by its conclusion, is it exciting enough, or moving enough, that it will elicit a sincere, immediate standing ovation? All audiences want to leave the auditorium on a visceral high and 42

nothing reinforces that feeling more than an effective closer.

2. Always Start Strong—Next, understand that there is an innate sense of anticipation to the beginning of any concert. Play on that expectation by programming something that will quickly catch the attention of the audience. Be it fast and loud, or strong and stately, within the first thirty seconds of your performance, the audience needs to establish an emotional connection. This opener sets the tone for the concert and with a weak start, you may never get your audience back.

3. Change It Up—With your concert bookends in place, fill in the remainder of your repertoire. To keep your audience engaged, the second piece should serve as a contrast to the opener. If you started fast and loud, then a simple, lyric selection would be a terrific foil. If you opened the concert with a strong, stately work, then select a short piece with a light and playful character. In either case, the important thing is that there is a noticeable contrast. If your concert allows for additional pieces, continue to create changes in tempo, dynamics, and texture to ensure that the audience will remain engaged throughout the entire performance.

HISTORICAL CONTRAST Another effective way of creating good concert flow is by programming works of various historical styles. Check your recent programs. How many TRIAD

pieces have been written within the last 25 years?

While these pieces may have differing styles, there’s a good chance that their melodic shape and harmonic language are very similar. This steady diet of late 20th century/early 21st Century pieces will quickly grow stale to your audience. More importantly, your students deserve more variety. There are hundreds of years of classical music from which to choose, and if the introduction to this music doesn’t come from you, then from whom will it come?

MULTI-MOVEMENT WORKS I highly recommend that you perform at least one multi-movement work a year. Multi-movement pieces present unique challenges different from those inherent in single-movement works. For both you and your players, multi-movement pieces require a different mentality to perform. Because a large amount of our repertoire is comprised of single-movement works, we have become very conditioned to finishing a piece, hearing applause, and mentally relaxing before the next selection begins.

Multi-movement pieces force us to extend our men-

tal concentration over the span of several movements. More than that, they create an unfamiliar anxiety for those on stage because there is no time for that brief mental letdown between the pieces—an anxiety only compounded by the uncomfortable silence that lingers between movements. It is exactly because of these challenges that multi-movement pieces are integral for building the mental and physical maturity of our ensembles.

DIFFICULTY When programming, don’t be afraid to use repertoire that is slightly easier than the difficulty level to which your band is accustomed. This is particularly effective when it comes to programming slower, lyric music. We perform slow music so that we can develop the musicality of our ensembles, the maturity of their ensemble sounds, and to improve their intonation. It makes sense, then, not to complicate these issues with the additional range concerns and technical issues often inherent in harder slow music.

Scaling back the difficulty will allow your ensemble to truly focus on what matters.

ELEMENTARY, MIDDLE, AND HIGH SCHOOL BAND, CHOIR, AND ORCHESTRA www.SMMFestival.com or call:1-855-766-3008

OCTOBER/NOVEMBER 2014

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ENDURANCE An important, and often neglected, consideration in programming is taking into account the physical endurance of your musicians, particularly your high brass players. There is nothing more squirmingly heart-wrenching than the end of a successful concert being fatally marred by players who simply don’t have the embouchure strength left to play the correct pitches or make good sounds. Because of this, physical endurance must be a factor in the programming process. If you decide to program works that are going to be demanding on your brass, you must surround those pieces with music that is less taxing to give them time to rest.

CONCERT PREVIEW The last step before you finalize your program is a simple, but essential one—become your own audience member. Sit down with full-length recordings of the pieces you have chosen and listen through your concert, in order, in one sitting. Do the pieces have a natural progression? Are you engaged from the outset of the concert? Is there a nice variety of styles and tempos? Are the brass going to be able to finish strong? Are you immediately on your feet at the end? This concert preview has been indispensable to me as, quite often, the perfect concert I had envisioned reveals itself to have some fundamental flaws.

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As you begin to consider what to program for your ensembles this year, I invite you to employ these six simple steps. By carefully crafting an enjoyable concert flow, blending music of the past and present, and considering the mental and physical well-being of your students, I have no doubt that your concerts will be musically rewarding for your students and audiences.

Dr. Jeffrey D. Gershman has recently joined the faculty at the Capital University Conservatory of Music, where he conducts the Symphonic Winds, Wind Symphony, and teaches conducting. His past positions include serving as the Associate Director of Bands at the Indiana University Jacobs School of Music, the Director of Instrumental Activities at Texas A&M University-Commerce, and the Co-Director of Instrumental Music at Monroe-Woodbury High School in Central Valley, New York. Dr. Gershman maintains an active guest conducting schedule with both professional ensembles and high school honor bands throughout the country. He has presented lectures at many state and national conventions and is in high demand as adjudicator, having judged band festivals throughout the United States as well as in Singapore and Australia. In addition, Dr. Gershman has published articles on repertoire, programming, and score study that have been hailed as “groundbreaking.” As an arranger, his transcriptions of works by Eric Whitacre, Frank Zappa, and John Corigliano have received critical acclaim, with performances at Carnegie Hall as well as regional and national conventions.

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Miami University Department of Music providing a distinctive learning experience within a major liberal arts university

Schedule an audition online: MiamiOH.edu/music UPCOMING AUDITION DATES FOR STUDENTS ENTERING THE 2015-16 ACADEMIC YEAR: Saturday, November 15 Saturday, January 31 Saturday, February 21 Saturday, February 28 Auditions are also available for instrumentalists on Wednesday afternoons and singers on Thursday mornings. Exceptions include holidays and exam weeks.

DEPARTMENT OF MUSIC FACULTY 2014-15 STRINGS Harvey Thurmer, violin Amy Kiradjieff, violin Tze Yean Lim, violin Mary E.M. Harris, viola Pansy Chang, violoncello Stephen Ullery, bass Jacquelyn Davis, harp James McCutcheon, guitar

VOICE (continued) Mari Opatz-Muni Benjamin Smolder Lisa Hasson Christina Haan

WOODWINDS Rebecca Andres, flute Morrigan O’Brien Kane, flute Andrea Ridilla, oboe Michele Gingras, clarinet Christin Schillinger, bassoon Jeremy Long, saxophone

BANDS Gary A. Speck Stephen Lytle

BRASS Gregory Phillips, horn Steven Pride, trumpet Douglas Lindsay, trumpet Jaime Morales-Matos, trombone Carson McTeer, euphonium and tuba PERCUSSION William Albin Michael LaMattina Chris Tanner PIANO Frank Huang Heather MacPhail Bruce Murray Siok Lian Tan VOICE Alison Acord Audrey Luna Linda McAlister

CHORAL MUSIC William Bausano Jeremy Jones

MUSIC EDUCATION Kay Edwards Brenda Mitchell Joshua Slagowski COMPOSITION Per Bloland G. Roger Davis MUSICOLOGY Thomas Garcia Elizabeth Hoover Tammy L. Kernodle THEORY Claire Boge CONDUCTORS Ricardo Averbach, Symphony Orchestra William Bausano, Chamber Singers; Choraliers Jeremy Jones, Collegiate Chorale; Men’s Glee Club Jeremy Long, Jazz Ensembles Stephen Lytle, Symphony Band; Marching Band Gary A. Speck, Wind Ensemble Chris Tanner, Steel Band

THE DEPARTMENT OF MUSIC OFFERS DEGREE PROGRAMS IN THE FOLLOWING: Bachelor of Music in Performance Bachelor of Music in Music Education Bachelor of Arts in Music Master of Music in Performance Master of Music in Music Education Music scholarships available to talented music majors in addition to generous graduate assistantships.

Call or e-mail us to schedule a visit!

Miami University Department of Music 109 Presser Hall Oxford, Ohio 45056 513-529-3014 music@MiamiOH.edu

Department of Music

TEACHING TIPS CHOIR Choosing Choral Repertoire: Writing a Prescription for Success Lisa Wong, DM; The College of Wooster Choosing repertoire of the highest quality is among the most important tasks with which a choral director is charged. For those of us who teach in an academic setting, we have long heard the analogy of choosing new repertoire as akin to the luxury of choosing a new textbook for each concert performance. I further assert that choosing exactly the right repertoire is like writing a prescription for whatever ailments befall your choir. You, as the director, must guide the trajectory of your singers’ artistic development. Analyzing their needs and prescribing appropriate literature will create an experience that is artistically and pedagogically satisfying.

As you sort through repertoire choices, you will encounter endless possibilities. With the deluge of titles certain to cross your path, where do you begin? It is essential that directors come up with an organized and purposeful process, so as not to become overwhelmed by the vast number of titles available. First and foremost, we must realize that music publishing and distribution is a business. Works that are heavily promoted or receive special rankings are not necessarily of the highest caliber. Rather, their painfully similar predecessors have proven financially successful, and publishers expect a similar return on their formulaic clones.

Eliminate the obvious trash right away. This isn’t a case where the adage “One man’s trash is another man’s treasure” holds true. I encourage all directors, especially those who work with children, NOT to put 46

themselves in the mindset of the children, assuming, “Yes—they’ll definitely like this one!” YOU are equipped to make sound choices; use your skills as an educator and an artist to make the best possible choices. (If you aren’t sure you’ve chosen a piece of high quality, you can almost always use the text of a choral piece as a good starting point. Is the text interesting?

Is it artistic? Is it a text that you’d love to share with your singers and to have them remember years later?)

WRITING THE PRESCRIPTION Writing a prescription for the needs of your choir is a different philosophy compared with choosing pieces that highlight the strengths of your choir. In order to balance a semester or a particular concert program, you’ll need to do both, but if you never write the prescription, your choir won’t have the opportunity to properly develop. Ask yourself, “What does this ensemble need in order to grow?” For example, does your choir need to work on singing with a pure, uniform sound? If so, choose pieces that are slow, lyrical, and that feature pure, open vowels—perhaps something in Latin or Italian. Do they need to improve their rhythmic precision? If so, choose something at a faster tempo that requires them to align with great precision. Do they need to sing with greater expressivity? Do they need to work on balance? Do they need more exposure to other languages and cultures?

Do they need to learn to work together in a respectful environment? The possibilities are endless. (As a note TRIAD

for new directors, don’t make the mistake of choosing your repertoire before you have a chance to listen to the ensemble. For your first rehearsals, perhaps you can bring in a few selections from your library, teach a simple canon, etc. Become familiar with the strengths and weaknesses of the ensemble before placing an order for music. Trust me—you’ll save yourself from a lot of frustrations if you just spend some time getting to know the group first.)

FIRST IMPRESSIONS When you first encounter a piece of music, something special should appeal to you. You should be excited to share this incredible find with your choir.

Does it have a beautiful melody? Lush harmonies? Interesting text? Don’t be fooled by the “fast food” gratification that often results from pieces that are simple to sight-read; remember to look for something artistic and lasting. This is not to say that all pieces will have an immediate appeal for your singers. If you are truly prescribing to meet the needs of your choir, it is likely that you will be exposing an area that they might not feel comfortable showcasing right away.

After you have a stack or list of pieces for consideration, it is time to look more closely to determine which pieces are most appropriately suited for your choir. First, consider the level of difficult of each piece.

Be sure to choose a variety; you’ll certainly want to have some pieces that stretch the group, but your singers may become frustrated or vocally fatigued if all of the literature is mentally and/or physically too taxing.

Similarly, carefully examine the required vocal ranges. Can your students sing the pitches as written? Can they sing the parts with some minor editing, where appropriate? Can they manage to negotiate the tessitura over the course of an entire concert program?

LASTING IMPRESSIONS In order for your prescription to create a lasting impression for singers and audience members alike, it is essential that careful consideration be given to the overall purpose, balance, and flow of the complete

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concert program. In an educational environment, I believe our first responsibility is always with the students, but we must keep in mind that ours is a performing art and is therefore meant to involve a reciprocal experience with the audience.

Narrowing down several selections that suit your choir is indeed a time-consuming process, but is only the first step in programming the overall concert. It is best to have many more pieces than you will actually need, and to file some away for another concert when they might be more appropriate. As you start to piece together the complete concert program, consider the musical balance of all of your selections. Is your program balanced in terms of musical content: time periods, styles, languages, tempi, meters, levels of difficulty, etc.? This is vital not only for the vocal consideration of the singers, but also for the listening experience of the audience. Just as the best music carefully balances consonance and dissonance, variance in voicings, texture, etc., so must you balance the content of your concert program.

Be sure to time the overall length of the program.

Do you have enough rehearsal time to adequately prepare the literature? Does your concert involve more than one ensemble? Have you allotted enough time for moving on and off the risers? Are there any speakers? Awards?

Be mindful that the audience is not merely a passive recipient of your choir’s performance; rather, you and your singers have the ability to motivate, engage, and create an ongoing dialogue. Careful selection of the very best literature is a prescription for what ails your choir, and quite possibly, for what ails society.

Play an active role. Choose wisely.

Dr. Lisa Wong is an Assistant Professor of Music at The College of Wooster, where she directs the choirs and teaches courses in music literature, choral conducting, and music education. She is also on the conducting staff of The Cleveland Orchestra as Assistant Director of Choruses and Director of the Cleveland Orchestra Youth Chorus.

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TEACHING TIPS GENERAL MUSIC Vernacular Music Learning: Exploring Common Musical Languages in the Classroom Nathan B. Kruse; Case Western Reserve University The term vernacular music has received a great deal of attention the past several years. It is often used interchangeably with terms like popular music or folk music, and frequently is associated with informal music learning (Green, 2002, 2014; Woody, 2007, 2010). But what is vernacular music, and how can its tenets be used in music classrooms?

In the broadest sense, vernacular music can be viewed as the common musical language of the people. What constitutes vernacular music, however, can change over time. At one point, genres such as ragtime, folk, pop, jazz, ska, and hip hop were all considered “new arrivals” on the music scene, yet each became an established, recognized, and imitated musical art form. Even now, new musical forms are emerging that fuse old and new together. Vernacular music helps define cultural life in human communities, because it reflects the musical styles, values, and music making practices that are most commonly used among people in society. We might say that vernacular music is not a “kind” of music, but a “way” of learning (and experiencing) music.

CHARACTERISTICS OF VERNACULAR MUSIC LEARNING Fundamentally, everyone starts out as a vernacular learner. Young children learn music the more they are exposed to the sounds in their environments. Children instinctively engage in playful exploration of these tones as they develop a frame48

work for navigating the common musical practices they encounter on a daily basis.

Once in a school setting, students continue exploring and manipulating musical sounds through participation in elementary general music classes. At the secondary level, some students choose to enroll in formal music instruction (e.g., band, choir, orchestra), whereby music-making activities assume the value systems of that particular setting. However, many students who do not enroll in secondary ensembles still may choose to remain active musicians, but in a vernacular, more informal sense. For these students, their music worlds remain exploratory, spontaneous, and self- and peer-led. If vernacular music is a common musical language that students experience daily outside of school, what are some ways that music teachers can help connect the formal and the informal, the understood and the underexplored?

According to Green (2008), there are three primary ways in which people engage with music: performing (playing or singing), creating (composing or improvising), and listening (to self or others). Vernacular musicians employ each of these skills while shaping a musical work, reproducing popular songs, or jamming for the sake of jamming. This type of learning also tends to be collaborative in nature, with shifting leadership roles. For example, more experienced individuals might “coach” their peers through unfamiliar musical territory (e.g., chord changes, TRIAD

rhythms, licks), while at other times, the music might develop organically through collective, non-hierarchical group efforts (Green, 2008; Jaffurs, 2004; Woody, 2007, 2012).

In all of these instances, the ear becomes an essential part of vernacular musicianship. The ear is the conduit that helps students learn an inventory of songs, memorize tunes, and ornament (improvise) learned melodies. While this might seem daunting for individuals who are reliant on notation, there are ways of introducing basic vernacular musicianship skills in the classroom that strengthen other “parts” of the ear naturally and increase students’ musical independence.

WAYS TO INCORPORATE EAR-BASED EXPLORATION The following sample activities can be explored at school and at home. The activities can be adapted to fit a variety of age groups and ensembles, and should evolve over several class periods or months.

The most important thing is to introduce ideas gradually and to take one’s time so that students have an opportunity to experience success in a potentially new arena. These are exercises to stretch the ear, mind, and musicianship, so perfection is not the goal. The process of exploration far outweighs the product.

1. Select well known tunes such as Happy Birthday or Jingle Bells. Invite students to practice the tune at home, by ear, on a starting pitch that you assign.

For example, C. Once students can play the tune by ear, assign a new starting pitch, such as E-flat. Continue the process of assigning new starting pitches so that students develop a sense of playing a single tune

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in several “keys.” More advanced students could tackle familiar songs like the School Fight Song or the National Anthem.

2. Teach by rote a simple bass line or root melody that accompanies a tune found in a method book or warm-up book. Create additional bass lines for subsequent tunes. Advanced students could learn root melodies to chorales.

3. Create a listen-copy project. After multiple and careful listenings of a recording (e.g., pop, folk, world music), students play or sing along with the recording and attempt to imitate particular rhythms or difficult passages.

4. Teach rote songs with a degree of rhythmic interest. When used in conjunction with written notation, it could reduce the rift between formal music instruction and pop culture influences.

5. Have students arrange and record (on a tablet or smart phone) a pop “cover tune” by ear, in small groups, outside of school, and debut the recording in class. As in a traditional chamber ensemble, independent musicianship, decision-making, and negotiation toward a finished product result from participation in a cover group.

6. Invite local vernacular musicians (e.g., Celtic, salsa, jazz, folk, mariachi) into the classroom to give performances, masterclasses, or guest lecturers in conjunction with ongoing vernacular projects. This is another way to explicitly link the shared attributes of in-school music and out-of-school music.

CONCLUSION Although rehearsal time is a precious commodity in any setting and with any age group, there may be additional avenues worth exploring that afford stu-

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dents an expanded reservoir of knowledge. Even in our schedule-driven, technology-laden world, vernacular music experiences can provide students with social and creative tools that help them connect with a variety of common musical languages. Developing a holistic approach to the study of music that incorporates formalized instruction and ear-based vernacular music learning might serve as the impetus that allows students to explore the natural range of musical styles and preferences in and out of school.

Sources Green, L. (2002). How popular musicians learn: A way ahead

for music education. London: Ashgate.

———. (2008). Music, informal learning and the school: A new

classroom pedagogy. London: Ashgate.

———. (2014). Hear, listen, play!: How to free your students’

aural, improvisation, and performance skills. Lon

don: Ashgate.

Jaffurs, S. E. (2004). The impact of informal music learning

practices in the classroom, or how I learned to

teach from a garage band. International Journal of

Music Education, 22(3), pp. 189-200.

Woody, R. H. (2007). Popular music in school: Remixing

the issues. Music Educators Journal, 93(4), 32-37.

Woody, R. H., & Lehmann, A. C. (2010). Student musicians’

ear playing ability as a function of vernacular music experiences. Journal of Research in Music Education, 58, 101-115.

Woody, R. H. (2012). Playing by ear: Foundation or frill? Music

Educators Journal, 99(2), 82-88.

Nathan B. Kruse, Associate Professor, is Area Head of Music Education and Coordinator of Graduate Studies in Music Education at Case Western Reserve University, where he teaches courses in research methods, music cognition, and vernacular music. He taught instrumental music in the public schools of New Mexico and Michigan, and remains an active public school colleague as a conductor and clinician. Prior to his appointment at CWRU, he served on the music education faculty at the University of North Texas. He earned a BME from Butler University, an MME from the University of New Mexico, and a Ph.D. in Music Education from Michigan State University. His research interests include adult music education and ethnographic traditions of community music.

think in sound Undergraduate Programs

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Visual and Performing

mountunion.edu/music

Mount Union Welcomes New Director of Bands Dr. Otis C. French serves as the Director of Bands at the University of Mount Union, where he leads the Purple Raider Marching Band, Wind Ensemble, Concert Band and Wind Instrumental Chamber Ensembles. He remains active as a marching show drill writer for both high school and college bands. French enjoyed a career as a euphonium soloist and conductor in several U.S. Military Bands before starting his career in higher education.

He continues to perform as a guest conductor, clinician, adjudicator, and instrumental soloist.

UNDERGRADUATE DEGREES

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Hugh A. Glauser School of Music

Programs of Study Audio Recording Composition Music Education Music Production Performance

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Undergraduate Minors Audio Recording Jazz Studies Music Music Technology World Music Post-Undergraduate Certificate Programs Composition Conducting Performance

For more information on auditions or scholarships, contact: Mr. Dana Brown Coordinator of Undergraduate Studies email: dabrown@kent.edu

Scholarship Auditions

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For graduate assistantship information, contact: Mr. Michael Chunn Coordinator of Graduate Studies email: mchunn@kent.edu

Please visit our website for audition information and dates: WWW.KENT.EDU/MUSIC

KENT STATE UNIVERSITY P.O. BOX 5190 KENT, OH 44242-0001

PHONE: 330-672-2172 FAX: 330-672-7837

Kent State University, Kent State and KSU are registered trademarks and may not be used without permission. Kent State University, an equal opportunity, affirmative action employer, is committed to attaining excellence through the recruitment and retention of a diverse workforce. 14-1756

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TEACHING TIPS ORCHESTRA Evaluation of Teaching for Academic Orchestra Conductors Ricardo Averbach; Miami University “One man or woman stands in front of 100 fellow human beings—unlike them, without the capacity to make sound—and yet has the power to shape the great works of sonic art. The conductor’s eyes dart about, seemingly all-seeing, ears all-hearing, a musical intelligence called upon to grasp a work’s architecture and then convey it. He or she is curator of masterpieces, incubator of new works and public performer.” –New York Times, Daniel J. Wakin Schools or Departments of Music are unusual in the range and types of teaching situations that exist: applied music teachers involved in one-on-one studio instruction; conductors of performing ensembles; coaches of chamber music ensembles, which may vary in size; teachers/lecturers with varying class sizes; and teachers of skill-based courses, such as ear training, class piano, and music education methods courses.

The teaching aspects of the orchestra conductor differ fundamentally from that of other faculty members, including other ensemble directors. The performance-oriented nature of the orchestra performance discipline further contributes to the complexity of teacher/student interactions and interrelationships in the school or department.

At the college level, the differences among the various types of ensembles—choral, band, and orchestra—are more accentuated than at the high school level. In high schools in this country, both the orchestra and band programs are usually rooted in 52

our specific music education tradition, where faculty convey to students the basics of instrumental methods and perform an educational repertoire ranked pragmatically into various levels of difficulty.

The American School Band Movement had a specific trajectory in the 20th century that ensured until today a smooth and logical transition for students from high school to college. The transition is much more complex for orchestra students, particularly the ones without experience in youth orchestras as extra activities outside of school.

The traditional collegiate orchestra is rooted in the conservatory tradition— practical, primarily technical, performance-based training. In most colleges, orchestras are expected to perform the traditional symphony orchestra repertoire as well as operas and choral-symphonic literature. Compared to high school orchestras, frequently there is a quantum leap in terms of expectations. For example, horn players without youth orchestra experience would hardly be prepared to perform standard repertoire with multiple transpositions, which is a common practice in the orchestra literature. College orchestras compete with references of memorable performances of the standard symphonic literature played by the top orchestras in the world.

When evaluating college orchestra conductors, it is important to take into account such peculiarities as the ones formulated by Dr. Bruce Murray, chair of the Department of Music at Miami University: TRIAD

The orchestra conductor is the conservator of the most significant texts of Western art music; some bear significance well beyond music and the arts. The orchestra conductor must process centuries of received knowledge and determine what their students can assimilate.

The orchestra conductor works with the widest possible variety of instruments and instrumentalists, sometimes extending to exotic (non-Western) or electronic instruments; he might work within multiple genres, such as opera, choral-symphonic repertoire and concerto accompaniments. Each group (strings, woodwinds, brass, percussion) arrives with its own culture and expectations. Young wind players, for example, may be disappointed to discover that orchestra music in the standard practice period is string-based, and typically strings must receive three-quarters or more of a conductor’s attention.

The universe of a college conductor contends with a wide variety of ability and experience among the players. A college orchestra may contain everyone from freshmen non-music majors to graduate students in performance or even community members who are not students. Finding a teaching level that works optimally for everyone is, a priori, impossible.

A university orchestra might be called upon to participate in a wide variety of activities besides playing straight concerts: opera, theater, dance productions, accompaniment of student and faculty soloists, and ceremonial events such as commencement.

Usually the primary duty of a college orchestra conductor is to conduct the student orchestra(s).

Another duty might be the teaching of conducting, which generally impacts a smaller number of students.

In a college orchestra situation, students learn both musical-related and non musical-related issues.

Among the musical-related issues are performance practices, aspects of style, listening skills, precision, ensemble problems, balance, intonation, accompaniment, and multiple genres (operas, symphonies, choral-symphonic repertoire, etc.). Among the non-musical issues are teamwork, discipline, work under pressure, etc.

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Most higher education institutions put proficiency in classroom teaching at the top of the list of teaching evaluations. For orchestra conductors, this is equivalent to making the class “symphony orchestra” or its equivalent as the primary course to be evaluated. Proficiency in classroom teaching excellence would measure the quality of rehearsals, concerts and student satisfaction.

While important, the class symphony orchestra is but one of the elements to be evaluated. In my opinion, the quality of the concerts as student outcome is the most important measure of teaching excellence in terms of the “orchestra class,” and it should be evaluated while taking into account the proficiency level of the students in the ensemble. Orchestra students tend to have widely disparate abilities, and any effective conductor achieves an elusive compromise in terms of the level of ability among students.

In addition to ensemble direction, the teaching component of college orchestra conductors also includes a large number of other activities; the orchestra conductor position frequently is one of the most complex positions in a college music unit.

Therefore, when evaluating teaching, it is important to take into account and give appropriate weight to the multiplicity of teaching elements of the college orchestra conductor position. Unfortunately, in trying to use analogous systems of evaluation, administrators tend to forget this fact and place almost the entire weight into the relationship of the conductor with the orchestra students.

Teaching excellence in the case of college orchestra conductors is a complex issue, as unique as the nature of the position itself. The ultimate measure of effectiveness of a college conductor is his or her impact on the overall orchestra program, and appropriate weight should be given to all the multiple facets of the work, which can vary substantially from institution to institution.

Ricardo Averbach is Director of Orchestral Studies at Miami University and President of the College Orchestra Directors Association.

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TEACHING TIPS PEDAGOGY In Politics And In Pedagogy, A Philosophy Guides The Way Richard Edwards; Ohio Wesleyan University HISTORICAL PERSPECTIVE One of the most well known quotes in American history is also one of the first philosophical statements to guide our nation: “We hold these truths to be self-evident, that all men are created equal, that they are endowed by their Creator with certain unalienable Rights, that among these are Life, Liberty and the pursuit of Happiness.”1 In the years since Jefferson wrote those words, I wonder how many music teachers have considered that by helping children develop their musical potential, they are the living embodiment of one of the most innovative ways our country has evolved to support “Life, Liberty, and the pursuit of Happiness.”

The Declaration of Independence was written while barriers to gender and racial equality were deeply embedded in American culture, but Jefferson’s philosophical statement may have set a course for our country’s growth in the years since 1776.

When he wrote that we possess certain unalienable rights, not everyone in America had the means or even the legal right to pursue the qualities of life, liberty and happiness. Yet in the years to follow, slavery was abolished and every citizen obtained the right to vote regardless of race or gender. Furthermore, each state would come to institute free and public education for all children eventually including music as a basic part of the school curriculum.

What I submit is that these achievements occurred in the years after 1776 not despite the Dec54

laration of Independence proclaiming truths that were not yet legally evident for all people, but in part because the Declaration of Independence set a philosophical vision of the greatness America could yet achieve. Whether a philosophy is written to guide the growth of a new nation or provide vision for a teacher’s career, having a philosophy clarifies expectations and focuses how to make progress toward our goals. Before any lesson plans are written or any bills are signed into law, a leader needs to be able to articulate the ideal outcomes for students and citizens alike.

THE FOUNDATION OF A PHILOSOPHY The purpose of this article is not to steer readers toward any particular philosophical viewpoint, rather, it is to encourage readers to create or revisit a philosophy that aligns with their acquired experiences and provides a clearer focus toward their future goals. During college there usually comes a time when an aspiring teacher is asked to write a philosophy statement to address some very basic yet important questions: Why is what I teach worth learning? What kinds of experiences will I provide to my students to reflect the value of what I teach? As difficult as it may be to write down what we hold to be truthful and meaningful answers to these questions, the bigger challenges of teaching are found less in how we plot our path and more by how we guide our students down that path. Navigating the sea of TRIAD

modern education can become a dizzying process if teachers set sail with a philosophical compass that has not yet been fine tuned by personal values and weathered by experiences in the classroom.

For music teachers, forming a philosophy stems from how we seek to help our students find personal meaning and truth through their music learning experiences. According to Abeles, Hoffer, and Klotman, there are three schools of thought on how truth is determined.2 (1) Rationalism, including people such as Plato and Kant, who tried to understand the world through logic and by imagining the best possible ways in which truth can exist. Rationalists might ask questions like, “What could an ideal music classroom sound like?”

(2) Empiricism (or Realism), including people such as Aristotle and Hume, who held that there is no truth in a best possible scenario that is never realized. Truth only exists where it can be verified by observation. Empiricists might say things like, “What you hear is what you get.”

(3) Pragmatism, including people such as Heraclitus and Dewey, who valued the scientific method to test for truth. Pragmatists might view the world of music as an ever-changing place, or as Heraclitus put it, “All things flow… One cannot step into the same river twice.”3 Whether any or none of these schools of thought align with your educational beliefs, developing and refining a philosophy of music education offers sev-

OCTOBER/NOVEMBER 2014

eral benefits. Abeles, Hoffer, and Klotman endorsed four advantages for making and maintaining a philosophy: (1) to guide decisions and actions; (2) to provide an anchor for consistency of thought; (3) to recognize that a philosophy should be solid, but not cast in stone; and (4) that to recognize the modes, philosophies and views of others will cause us to take a closer look at ourselves and more clearly analyze our own philosophies and behaviors.4 Thus, the tonal center for an effective philosophy of music education is primarily to have a philosophy of music education that one can genuinely practice in the classroom. The perspectives offered here are just some of the ways a philosophy is formed, but ultimately it is up to each teacher to arrive at the philosophical vision that fits the values and experiences of that teacher. Not everyone’s philosophy will agree, but even if differences arise between music teachers about what the best approach to enrich a child’s musical life might be, hopefully such debates are grounded by a fundamental truth among teachers regardless of our training, tastes, or teaching styles.

To paraphrase Jefferson, we hold these truths to be self-evident: that all people are created with the potential to be musical and an unalienable right to life, liberty, and the pursuit of musical experiences.

Notes 1. United States, Declaration of Independence.

2. Harold F. Abeles, Charles R. Hoffer, and Robert H. Klotman, Foundations of Music Education (New York: Schirmer Books, 1995), 41-64.

3. Charles M. Bakewell, Source Book in Ancient Philosophy (New York: Macmillan, 1939), 33.

4. Harold F. Abeles, Charles R. Hoffer, and Robert H. Klotman, Foundations of Music Education (New York: Schirmer Books, 1995), 41-64.

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TEACHING TIPS TECHNOLOGY If We Build It They Will Come: Using Music Technology to Reach “The Other 80%” in Secondary School Programs* Dr. David Brian Williams;

Dr. Rick Dammers;

Illinois State University Emeritus

Rowan University

In music education we begin children’s elementary music experience by encouraging everyone to join in music making through singing and performing on rhythm instruments, autoharps, recorders, flutophones, and more. Music making and music learning include one and all; everyone gets to participate. Music teachers use participatory music making as a way to introduce concepts of rhythm, pitch, melodic shape and harmonic changes, and form and style.

Then what happens? As our students matriculate through levels of schooling, music participation becomes more selective. We move from participatory music making as a model to the traditional performance model where perfection is a key goal: no wrong notes and fewer opportunities for creative music expression. Performance ensembles—band, orchestra, chorus, marching band and jazz band— dominate the secondary music curriculum with a general music class or advanced placement theory perhaps added to the curriculum.

For those students attracted to these ensembles the benefits of this training and experience is expansive and well documented. Some students go on to professional music careers; others carry their extra-musical and musical experiences with them 56

into other careers and as an integral part of their personal lives. We are not advocating changing this component of our nation’s music education tradition.

Dave Williams’ review of several studies (Williams, 2012) has shown that on average across the country, by the time students advance through middle school to high school, only 20 percent of students are involved in these traditional music classes (also see Elpus and Abril, 2011 and NJAEP, 2014). Many students who participated in music making in the lower grades have since distanced themselves from school music. These are what we call “The Other 80%,” the students who no longer are active in the traditional secondary school music program. It is further insightful, that while nationally only 20 percent on average are involved in traditional secondary performance ensembles, a much greater percentage of students sing or play an instrument outside of school. The longitudinal series of studies, Monitoring the Future (Johnston et al., 2010), showed that over some 30 years, an average 57% of students in 8th, 10th, and 12th grades—not just those in music classes—reported that they play an instrument or sing outside of school at least once or twice a month if not daily. In terms of lifelong music making, the NAMM-commissioned Gallup survey (NAMM, TRIAD

2003) showed that 54% of households have someone that plays a musical instrument and 48% play two or more (see Williams, 2012, for a full discussion of these data).

FIELD OF DREAMS Change is on the horizon with new playing fields designed within our traditional music curriculum.

Music teachers, innovative and self-motivated, are creating new environments for The-Other-80% to explore students’ creative music potential. It is being done in many ways: song writing, guitar and ukulele ensembles, Mariachi bands, drumming circles, and various ethnic ensembles. All these activities help bridge music education in school with music in society and use these activities to nurture a greater knowledge and appreciation of the building blocks of music that encourage lifelong music making. They do so with the challenge, like Ray Kinsella dreaming of the return of Shoeless Joe Jackson to baseball, that “if we build it, they will come.”

TECHNOLOGY AT BAT An ever-expanding group of teachers is using music technology as a strategy to reach these students. They are using laptops and tablets with software like GarageBand, Mixcraft, and Abelton Live, to engage these “non-traditional” students in ways that nurture creative performing and composing talents.

Reading traditional notation and performing on traditional instruments are not, as McAllester suggested, a prerequisite—students’ ears become their guide with the music teacher as their music creativity coach.

We built the website http://musiccreativity.org several years ago as a way to collect the stories of music teachers who were building their own music technology field of dreams; an online forum to share success stories working with non-traditional music students. Like those teachers implementing guitar and ukulele ensembles, the students motivated to make music through technology were discovering

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.

Upcoming Audition Dates Friday, Dec. 5, 2014 Saturday, Jan. 31, 2015 Saturday, Feb. 14, 2015 (Participation Awards) Tuesday, Feb. 24, 2015

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 2014

57

ways to bridge school music training with the music they enjoyed in society: rock, hip-hop, DJ mixes, mash-ups, jazz and more.

GO THE DISTANCE! Dammers (2012) found that some 14 percent of high schools in the nation have some form of technology-based music classes. On our website (musiccreativity.org) you will find some 30 profiles of teachers who have been successful using technology to build programs for the non-traditional students.

They often start with one class, or perhaps even an after-school activity. As the program expands, the profiles show more advanced classes added in music technology, MIDI-based performance ensembles, studio recording and mixing, and even student-managed recording labels. As the voice to Kinsella encouraged, “go the distance,” the success of these programs develop their own kinetic energy. Students, some academically or behaviorally challenged, gain self-confidence, increased positive attitudes, and find intrinsic reward from creating and performing music in new and novel ways.

TAKE THE INITIATIVE AND BUILD IT? You may be asking, as Ray Kinsella did, “What’s in it for me?” Following the belief shared by most music teachers that if music is important, it is important for everyone, creating a technology-based music class can be tremendously rewarding, both through successfully reaching the ‘other 80%’ student and through exploring the creative pedagogical possibilities offered by technology. Beyond these rewards, the expansion of the music program improves the program’s position within the school, since the more students that study music, the more important music will be to the school.

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Whether you use ukuleles or GarageBand, take the initiative and create an experience designed for the non-traditional music student. If you build it, not only the other 80% will come, but the sponsors will as well—the parents and administrators!

References Dammers, R. (2012). Technology-Based Music Classes in

High Schools in the United States. Bulletin of the

Council for Research in Music Education, 194,

73-90.

Elpus, K. and Abril, C. (2011), “High school music stu

dents in the United States: A demographic pro file”, Journal of Research in Music Education, 59:2, 128-145.

Johnston, L.D., Bachman, J. G., O’Malley, P. M., et al (2010), Monitoring the Future: A Continuing Study

of American Youth (8th, 10th, 12th Grade Surveys),

database from http://www.icpsr.umich.edu/icpsr web/ICPSR/ssvd/studies?prefix=M. Accessed 10

September 2011.

NAMM (National Association of Music Merchants).

(2003, April 21). Gallup organization reveals find-

ings of “American attitudes toward making music”

survey. Retrieved, November 13, 2013, from

http://www.namm.org/news/press-releases/gal lup-organization-reveals-findings-american-atti NJAEP (New Jersey Arts Education Partnership). (2013,

January 28). New Jersey School Performance

Reports. Retrieved, February 8, 2014 from http:// njaep.org.

Williams, D. B. (2012). The non-traditional music student

in secondary schools of the united states: Enga ging non-participant students in creative music

activities through technology. Journal of Music,

Technology, and Education, 4(2-3), 131-147. *Editor’s note: A version of this article appeared in

TEMPO! The Official Magazine of the New Jersey

Music Education Association, Vol. 68, No. 4 (May

2014): 22-24, Thomas A. Mosher, editor. <http:// issuu.com/njmea/docs/2014maytempoweb>

TRIAD

Welcome new full-time faculty

Music Careers Day

Wednesday, October 22, 2014 Free, fun and informative for high school students and parents!

www.uakron.edu/music

THE UNIVERSITY OF AKRON

FINE ARTS DIVISION

BUCHTEL COLLEGE OF ARTS AND SCIENCES

Christopher Blaha, tuba

Marie Bucoy-Calavan, choral studies

Mark Dulin, trumpet

• Explore academic and career 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, > ` w > V > > `° To register for Music Careers Day, call 330-972-8301, e-mail concerts@uakron.edu, or register on-line at www.uakron.edu/music.

Andrew Feyes, band

Heidi Ruby-Kushious, yÕÌi

Margaret Tung, horn

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 • Theory/Composition • Performance • Jazz Studies • Accompanying Bachelor of Arts in Music (B.A. in Music) Master of Music (M.M.)

43rd Annual Ohio Band Directors Conference (OBDC) Saturday, December 6, 2014

OBDC Honors Band, Gahanna Lincoln High School Gold Band, Lake High School Symphonic Winds, and The University of Akron Symphonic, Concert and University Bands. Guest composer Dr. Ralph Hultgren, Queensland

ÃiÀÛ>Ì À Õ À vwÌ 1 ÛiÀà ÌÞ] +Õii à > `] ƂÕÃÌÀ> >° Guest conductor Loras John Schissel, conductor of the Blossom Festival Band.

Deadline for OBDC Honor Band applications is October 15. Call 330-972-6919 or visit www.uakron.edu/music/ensembles/bands for details.

35th annual TubaChristmas!

Saturday, December 20, 2014 For more information, call 330-972-8301 or e-mail concerts@uakron.edu.

Dr. Ann L. Usher, Director 330-972-7590 • ausher@uakron.edu www.uakron.edu/music The University of Akron is an Equal Education and Employment Institution ©2014 The University of Akron

Scholarship Auditions Friday, December 5, 2014 Saturday, January 31, 2015 Saturday, February 14, 2015 Monday, February 16, 2015

MUSIC MASTERCLASS -

BRASS Techniques for Sound

Lucas Reno Borges; Ohio University Often when trombonists discuss the “trombone sound” they refer to tone quality rather than the complete package. I focus on the sound in a broader sense, not only tone quality but also the resulting product of one’s playing. In other words, one’s sound is the combination resulting from intonation, articulation, and tone as well all playing aspects in a given musical passage. The purpose is to create a clear musical conception in order to establish reachable goals in rehearsals or the practice room. This article aims to help teachers establish ideal sound models and further incorporate them in targeting specific aspects of their students’ approach toward trombone performance.

A band director can provide at least three types of sound references for trombone students: 1. Listen to professional trombonists in recordings, recitals, master classes and/or private lessons.

2. Listen to their fellow musicians within their program or ensemble (brass, woodwind, string and keyboard players as well as singers and percussionists). Their sound models can also provide splendid references, encouraging an early basis for ear training.

3. Imitate techniques of other players within their own ensemble. For example, ask the trombones to match the articulations of the trumpets or the legato of the clarinets.

These three types of references can help address a 60

number of different aspects of trombone performance. For briefness sake this article will focus only on two of them: articulation and legato.

ARTICULATION Articulation is often a problem for young trombonists: they either articulate too hard or do not articulate at all. This usually happens because they don’t know what sounds they are trying to produce.

They rely solely on the instruction of using their tongue to separate the notes instead of matching a sound concept. Consequently, students often settle for an unclear articulation due to frustration. In this case, good recordings of professional trombone players can provide a solid model of fearless, clear, and beautiful articulation.

Recordings of other brass players such as the trumpeters Maurice André and Adolf Herseth can demonstrate crispness as well as contrast between styles of articulation. Similarly, a band director can encourage the trombone players to listen and match the precision and resonance of a marimba stroke in their own band. Eventually, they will be able to produce the desired sound through trial and error (practicing) with a clear sound goal.

LEGATO Playing legato is also a sensitive issue for young trombone players: young students struggle to avoid a smeary or unconnected result. Contradictory schools TRIAD

of thought define the best techniques to achieve a smooth, connected, and clean legato. Directors can avoid confusion by simply providing good references to help students understand what legato sounds like.

For instance, professional performances of lyrical passages from trombone solo repertoire can provide example of beautiful legato playing. In contrast, glissando passages from the contemporary repertoire provide the opposite model.

The difference is clear and easy to understand even for a very young player. A good clarinet performance can display a connected and liquid legato playing. In a rehearsal, for instance, the trombone section could be encouraged to listen and match the connection and smoothness of a clarinetist from their own band.

Sometimes we ask students to apply a technique without realizing they simply do not comprehend the request. Instead, encourage listening, comparing,

and imitating by providing models either within the program or through the use of guest clinicians or recordings. Students will achieve more concrete results when they establish in their inner ear (their head!) what sounds they need to create. Therefore, any approach must include examples, and for all teachers providing such references encouraging them to listen and imitate will undoubtedly achieve results for both the students as well the teacher.

Lucas Reno Borges was recently appointed Assistant Trombone Professor at Ohio University and holds a Doctoral degree from the University of North Texas, a Master’s degree from Indiana University and a Bachelor’s degree from Universidade de Brasilia (Brazil). His primary instructors include Paulo Roberto da Silva, Dr. Carlos Eduardo Mello, Peter Ellefson, Vern Kagarice, and Tony Baker.

• Intensive professional training with a superb liberal arts education—in Music City U.S.A. • Internationally recognized faculty and uniquely personal student/teacher ratio in an undergraduate-only music program • State-of-the-art classrooms, studios, and performance halls—a new dimension in the learning experience • Degree programs offered in instrumental and vocal performance, composition, and musical arts—and five-year Bachelor of Music/Master of Education and Bachelor of Music/MBA programs • Ranked as one of the nation’s top twenty universities

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AUDITION DATES 2014/15 December 6, 2014 • January 23–24, 2015 February 6–7 • February 20–21, 2015 Blair School of Music Vanderbilt University Nashville, Tennessee blair.vanderbilt.edu Dwayne Sagen Assistant Dean for Admissions Dwayne.P.Sagen@vanderbilt.edu (615) 322-6181

61

The Edward E. MacTaggart Department of Music

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740.376.4696

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TRIAD

MUSIC MASTERCLASS -

PERCUSSION Improve Your Concert Band Percussion Section: Ten Tips Roger Braun; Ohio University

The percussion section is a dynamic part of a concert band, but can also be a daunting challenge for any director. These ten tips provide simple strategies to improve the quality of your percussion section’s performance and organization.

SHORT-TERM IMPROVEMENTS YOU CAN MAKE FROM THE PODIUM: 1. Make sure that each percussionist can see you clearly. Each should see his or her instrument, music stand, and the podium in a straight and clear sight line. Let the students know that you expect their eyes and attention whenever they play. To make this happen, percussionists should not share music stands. For example, rather than having bass drum, snare drum, and cymbals players share one music stand causing them to look in different directions, they should each have separate stands.

2. Challenge your percussionists to hear the full sound of the ensemble and play their parts appropriately with that sound. Reinforce that they always need to play at the right time, with the right dynamic and tone color to complement the ensemble’s sound. Ask them what other instruments play when they play to insure that they maintain focus on the whole sound of the ensemble.

3. Ask your percussionists to think about and control the duration of sound when they play instruOCTOBER/NOVEMBER 2014

ments that ring, such as triangle, bass drum, timpani, and cymbals. This detail is generally not indicated in their parts and requires them to use their musical judgment. Have them consider whether they should quickly dampen or gradually taper the end of their sound.

4. Encourage percussionists to experiment with different mallets, instruments, and instrument playing areas to find the best sound for each musical moment. Use rehearsal time to experiment with these different possibilities and evaluate the outcome with the whole ensemble. When you ask a player to use a different mallet, don’t just request harder or softer; instead address what the music needs—more staccato or legato, louder or softer, brighter or darker.

5. Keep percussionists engaged throughout the rehearsal. Possibilities include oboe or flute parts played on mallets and doubling percussion parts.

The best doublings are snare drum, mallets, and many accessories (adding maracas with tambourine for example). During warm-ups your percussionists can sing, play mallets, keep a pulse on drums, or play timpani (supporting tonic and dominant or even full scales). If the percussion section will sit out for a whole piece or an extended period, consider giving them scores to follow and periodically ask them to offer comments to the ensemble.

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LONG-TERM STRATEGIES TO DEVELOP MUSICIANSHIP AND IMPROVE THE ORGANIZATION OF YOUR PERCUSSION SECTION: 1. When starting beginning percussionists, make the mallet instruments a strong focus. Then, percussionists will be learning material similar to the rest of the band and realize that things like notes and scales apply to them, too. As a result they won’t fall behind the rest of the band when it comes to understanding music fundamentals.

Consider having each student on an individual bell kit for a good portion of each rehearsal and periodically incorporate all of the percussion parts for variety.

2. Develop your percussionists’ ear training skills starting at the beginning levels. By starting young with singing and interval recognition you’ll create a foundation that helps them later with timpani tuning and improves their engagement in rehearsal. I recommend having percussionists sing during the ensemble warm-up routine and including the timpani in the warm-up and tuning process.

3. Designate a section leader in each ensemble. If you have several strong or senior members, multiple leaders can work as well (alternating by term, concert, or piece). The leader’s responsibilities should include dividing parts with director oversight, monitoring the instruments and their organization, and communication with the director about the percussion section. In

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most cases you’ll find that students handle the responsibility well and make your job easier.

4. Organize the set-up of your percussion section.

Cover several sturdy music stands with a black cloth or carpet square to use as trays for sticks and small instruments. This will help players make quick changes without creating extraneous sound. Plan to have at least two stands for each percussionist in your section, one for music and one for mallets or small instruments. Post timpani ranges in bass clef notation near the drums.

Create an organized system for mallets and small instruments. Give all percussion students the responsibility to keep the set-up organized.

5. Address routine maintenance of your percussion instruments at least twice each year. Incorporate the students if possible. Routine maintenance should include drum tuning, snare tension adjustment, checking and adjusting timpani ranges and pedal spring tension, checking cymbal straps, checking all mallets for replacement or repair, and checking for missing or broken stand parts. If you are reasonably handy you can do most routine percussion repair yourself.

Roger Braun is Professor of Percussion at Ohio University. He has performed throughout the United States, Europe, Japan, and Korea and can be heard on more than a dozen CD recordings. His compositions have been performed worldwide and are available through his company, Ohio Percussion. Braun earned his degrees from the University of Michigan and the Eastman School of Music.

TRIAD

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

Meet our new Choral & Vocal Team!

Dr. Hank Dahlman

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MUSIC MASTERCLASS -

STRINGS Are Your Students Really Ready to “Play”?

JulieAnn M. Bernard; Centerville City Schools In youth sports and marching band, stretching and strength training are viewed as important to the overall stamina/health of the participant. However in the classroom, emphasis on warm-up tends to relate to musical concepts and techniques versus the physical demands placed on young bodies. Technical exercises and scales are just not enough to prepare muscles for rehearsal. Below you will find answers to some of the questions you should be asking yourself if stretching is not a part of your daily class room activities.

WHY STRETCH? The early stages of learning an instrument place great demands on growing joints and soft tissues.

Students are learning techniques unlike any posture or position the body has previously encountered. By including exercise, students are building the support needed to use correct posture in addition to the stamina required for holding those postures for increasingly longer lengths of time.

HOW TO GET STARTED? Musicians are also athletes. Any discussion with students about physical activity should include the body’s need to be hydrated as well as rested. Help them understand that sleep is restorative to muscles while water brings nutrients to cells in addition to lubricating the limbs and joints. One analogy that I like to use is that of the Tin Man in The Wizard of Oz. He couldn’t move until he was oiled; water is our 66

oil. Stress the importance of stretching not only “in class” but also in home practice. Place a reminder on their practice charts. Teach that every practice session should include taking breaks. Building a “rest day” into the week should be reinforced.

WHAT STRETCHES SHOULD I USE? Your routine should start with large muscles and motions then move to fine motor skills. The area that is most overlooked with students is their core. Lack of strength in this area can lead to many posture issues. Add balance exercises to core strengthening to get students to recognize how their body feels in various positions.

Large motions with the arms get blood pumping into the extremities, which pushes out excess fluid and prevents injury. Wrists, hands and fingers should be stretched AFTER these exercises. Be certain that large motions are controlled to avoid joint injury.

Emphasize GENTLE stretching! Make sure students understand it is not about how far they can stretch.

Pain should NEVER be involved. ALWAYS make sure good form is being used.

In terms of actual exercises, there are many resources from which you can choose as you create the plan that best suits your teaching situation. A quick web search will produce many articles and texts regarding this issue. Other ideas: 1. Partner with your school’s physical education or dance teacher.

TRIAD

2. If your district has a trainer, invite them into your classroom.

3. A physical or occupational therapist, sports medicine doctor, certified personal trainer, or Pilates instructor would make a great guest speaker.

4. Contact professors from an area college who specialize in sports medicine fields or Alexander Technique.

WHERE DO I FIND THE TIME TO DO THIS? If you are still struggling with where to put this in your lesson, try doing double duty.

1. Combine a daily listening example with the stretches.

2. Lead stretches during class announcements.

3. Make a poster with the stretches and reps listed.

Students can do them on their own after unpacking while you circulate and help with tuning.

4. Do a cool down during your ending statement.

Finally, letâ&#x20AC;&#x2122;s not overlook the fact that by doing stretching exercises with your students you are not BLFAC Ad 4C it - OMEA 2015:Layout 8/14/14 7:53 only modeling that is important but1 contributing

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to your own health. The most important thing to remember in all of this is to make it FUN! Resources A. Tripp. (2007). Water and Your Body. Retrieved from http:// www.muscleandstrength.com/articles/water-and-your- body.html B. Ackerman. Exercise for Musicians-Play Fit, Not Flat.Retrieved

from http://www.musicianshealth.co.uk/exerciseformusi cians.pdf Brophy, Lindy. (2009, August) Music practice-nurturing health

as well as harm. In UWA News, pgs. 1-2. Retrieved from

http://www.staff.uwa.edu.au/__data/assets/pdf_ file/0005/1974506/Issue-12.-24-August-2009.pdf Heming, M.J.E. (June 2004) Occupational injuries suffered by

classical musicians through overuse. Clinical Chiroprac

tic, 7 (2), pgs. 55-66.

J. Black. (2014, May 13) Eleven stretches for musicians. In The Strad. Retrieved from http://www.thestrad.com/latest/ editorschoice/11-stretching-exercises-for-musicians

JulieAnn M. Bernard is the department chair for the Centerville City Schools Orchestra Program in Dayton, Ohio. Additionally she teaches Upper String Pedagogy for the University of Dayton. She holds a bachelorâ&#x20AC;&#x2122;s degree from Miami University of Ohio and her masters from the University of Dayton, both in Music Education. This is PM Page 1 her 22nd year as a public school orchestra director.

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MUSIC MASTERCLASS - VOCAL Double Your Fun! Using Choral Warm-ups To Build Musicianship James W. Tipps; Wright State University

I remember a commercial for chewing gum many years ago that used the jingle, “Double your pleasure, double your fun.” Wise choral music educators can effectively adapt and use many of their warm-up materials to teach musicianship, thereby doubling our benefit. Here are a few that I have observed and adapted for my own use, and I challenge you to consider using at least one or two. Some can be adapted to middle school and elementary, as well as high school. Most vocal instructors I have heard have used the Latin vowels “ni, ne, na, no, nu” to build beautiful, rich tone; however, I find that, by using solfege syllables, we can still work tone and vocal production while developing ear-training skills, particularly when going back and forth between the two.

The first is probably the simplest. To the rhythm of quarter, quarter, quarter, quarter, two eighths, two eighths, quarter, instead of doing the Latin vowels, substitute solfege syllables so that we are singing “do, do, do, do, do-re, mi-re, do.” While reinforcing the first three notes of the major scale, we are still able to refine tone (what beginning choir doesn’t tend to spread the sounds on “re” and “mi”?) and have students shape a beautiful phrase with their hands. It is a simple thing, then, to use the same rhythm on a 5-note descending scale to “sol, sol, sol, sol, sol, fa, mi, re, do.” Of course, then we can modulate, usually to the next higher or lower key.

A favorite technique of Robert Shaw to keep a musical line connected and legato was to use the rhythm quarter, half note, quarter, half note, dotted half, up and back on a minor third on “oo-ah, oo-ah, oo.” He would then expand to major third, perfect fourth, tritone, and so on to the octave. It is easy to substitute chromatic solfege syllable so that singers 68

can be singing “do-me, do-me, do; do-mi, do-mi, do; do-fa, do-fa, do; do-fi, do-fi, do.” These can be used, but at the outset, you might want to limit how far you take it as students are gaining confidence, particularly with a younger choir. Going back and forth between the neutral syllables and solfege, however, can keep the exercise interesting and energized.

Building the scale on “do, do-re-do, do-re-mire-do, do-re-mi-fa-mi-re-do,” etc., so that the next scale degree is being added to the octave is more challenging, but helps solfege become second nature to young singers. It works beautifully as a 2, 3, or 4 part round. It also works to do it with descending intervals (“do, do-ti-do,” etc., starting with high “do”).

A warm-up exercise to help learn beyond the basic interval is to sing the name of those intervals, as in minor second, major second, minor third, major third, perfect fourth, tritone, perfect fifth, and so on until the octave. The first word/syllable (major, minor, perfect) is sung on the “do” pitch, with the second word (second, third, fourth, tone, fifth, etc.) being sung on the named interval. Again, it is usually a good challenge to reverse it so that they are singing descending intervals from the high do.

I suspect that many undergraduate music education majors might wish that a bit more time had been invested in making musicianship a gradual and steady process before they got to collegiate ear-training classes. By changing, adapting and alternating some of the warm-ups and technique-building exercises that we already do, we can strengthen our students’ skills and enrich their experience so that they can “double their pleasure, double their fun!”

TRIAD

DEPARTMENT OF MUSIC GO.UDAYTON.EDU/MUSIC 937-229-3936

ANNOUNCING NEW FACULTY APPOINTMENTS Dr. Chad Arnow Artist in Residence in Trombone and Brass Area Coordinator Errik Hood Adjunct Instructor in Voice Margaret Erin Early Music Ensemble Director

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2015 AUDITION DATES January 24 February 14 February 21

MUSIC MASTERCLASS -

WOODWINDS Squeak, Squawk, Make It Stop!

John Kurokawa; Wright State University The clarinet is not only a difficult instrument to learn and master, but a vital part of any wind ensemble or band. Over many years of private teaching, I have found three good habits to encourage that will overcome many common problems in tone production for clarinetists, from beginners to advanced players.

USE PLENTY OF AIR! The clarinet takes a fast, intense, and focused air stream to produce a characteristic clarinet sound— it is a wind instrument! Make sure you encourage your students to use plenty of air! It is very easy to use a very minimal amount of air when starting the instrument to achieve a sound in the lower register.

However, if a more vigorous and intense use of the air is not encouraged, the difference in quality between registers will be extreme, if the second register can be achieved at all. Encourage proper breathing habits and make sure your students are getting plenty of air into their bodies so they have plenty of air to put into the clarinet!

VOICE THE SOUND PROPERLY: ANGRY KITTY! We often are taught to focus on the “externals” of the clarinet embouchure: a pointed chin, firm corners, and an upper lip that is stretched downwards towards the mouthpiece. However, we also need to focus on the way the sound is voiced, or how the air is directed into the clarinet. Once you get a good amount of air into your body, it must be delivered into the clarinet as 70

a fast, slender, laser-like stream of air. To help achieve that, you must use what I refer to as a high tongue position, with the sides of the back of the tongue up against the molars and the tip of the tongue close to the tip of the reed (which by the way, also assists in achieving light and relaxed articulation AND helps to reduce squeaking).

This high tongue position is easily achieved.

Imagine you’re an “angry kitty” and hiss loudly like a cat with the syllable “HEEEE.” You’ll notice that the back of your tongue is raised, and the resulting stream of air coming out of your mouth is very fast. You can instantly tell when someone is not using a high tongue position: the sound is unfocused and “spread,” lacking center. Additionally, there is a great difference in quality when going over the break, and it may be difficult to play up to pitch. Because the resistance is more uniform over the entire range of the clarinet than any other wind instrument, this high tongue position should be virtually the same over the entire range of the clarinet. This assures that all notes, both low and high receive the same fast, intense air stream and a more uniform tone quality over all registers is achieved. My students have heard this so often that when they start to drop their tongues, all I have to do is remind them, “Angry Kitty!”

ENCOURAGE PROPER EMBOUCHURE Often, I find that if the student is blowing properly, many of the “externals” of a good clarinet embouchure, TRIAD

such as a firm, pointed chin take care of themselves.

However, it can’t hurt to remind our students to maintain proper alignment and muscular alertness in their embouchures. We do not play the clarinet with the embouchure, we play it with the air. The embouchure must enable the reed to vibrate and provide just enough pressure to the reed to enable this to happen. Assuming that the student has achieved basic tone production and basic embouchure formation, here are some pointers: 1. Encourage students to keep a pointed chin, with the chin muscles firmed downwards. The whole point of keeping the chin muscles firmed in a downward direction is to prevent the jaw from biting up into the mouthpiece and stifling the reed, which results in a vicious circle of bite and blow.

2. Make sure some red of the lower lip is visible.

If too much lower lip is rolled over the teeth, the vibrations of the reed will be muffled, and it will be almost impossible to maintain a pointed chin.

Practicing in front of a mirror is helpful in this case; there should be some red of the lower lip visible in a properly formed embouchure.

3. Alternatively, consider stretching the nostrils down. If the student is having difficulty firming the chin muscles downward, consider employing another trick: with the mouthpiece inserted in the mouth, think of stretching the nostrils downward.

This will often “snap” the chin muscles into place.

Make sure that the upper teeth do not lose contact with the top of the mouthpiece.

These principles are equally applicable for beginners as well as advanced players. By constantly reinforcing them, you will ensure that the student is voicing the sound properly, thus ensuring maximum efficiency in tonal production and a much more enjoyable experience!

John Kurokawa is the Instructor of Clarinet at Wright State University. In addition to teaching applied clarinet, he teaches courses in woodwind chamber music, woodwind pedagogy, and music education. Kurokawa currently performs as Principal Clarinetist of the Dayton Philharmonic Orchestra and the WSU Chamber Orchestra as well as performing with the resident faculty wind quintet, the Wright Winds. Mr. Kurokawa performs exclusively on the Yamaha CSG Clarinet and is a Yamaha Performing Artist.

Our new 2014-2015 school year catalog has arrived!

Haven’t received your catalog yet?

Request yours today at westmusic.com/catalogrequest

Back to School Pricing on all Yamaha recorders through the end of September!

FIND WEST MUSIC! 800-397-9378 | westmusic.com

OCTOBER/NOVEMBER 2014

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ADJUDICATED EVENTS Adjudicated Events Update

Scott Eversdyke; Adjudicated Events Chair The 2014-2015 school year brings many new and exciting changes to adjudicated events. Thank you to John Purdy for his years of service to OMEA as the AE Vendor! Congratulations to Dane Newlove, Director of Adjudicated Events Materials and Awards (formerly AE Vendor) and William Guegold, Director of Adjudications on their new positions!

LARGE GROUP REQUIRED LIST EXPANSION The AE Committee has voted to expand the high school band and choir required lists from 12 to 18 pieces in each class. There will be 12 pieces that function as they have in the past along with 6 pieces of standard repertoire that will stay on the list for much longer periods of time. All large group lists have been updated and can be found on the OMEA website.

Many thanks go to Ray Walczuk, Michael Lisi, and Pam Theil for their hard work to get these committees together and lists updated.

STRING SCALE REQUIREMENTS The required scales for all string events at the high school level have been updated. It is crucial that you visit the updated rules on the member portal of the OMEA website to obtain the specifics. There are also changes in scales and the number of octaves required for those events.

MIDDLE SCHOOL/JUNIOR HIGH CLASS D The AE Committee has added Class D as an option for Middle School/Junior High groups for 2015. It will work exactly as its counterpart at the high school lev72

el. Groups will not need to choose a piece from the required list. Groups will be able to go for a rating or for festival participation. As always, please make sure that the selected literature is appropriate for the adjudicated event performance venue.

SOLO AND ENSEMBLE ROLLING REVISION UPDATE We will have updated lists for Woodwind and Vocal Solos in 2015. 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: Woodwind Solos, Vocal Solos

Percussion, Brass and String Solos

Winter 2015 (This coming S&E Season) Winter 2016

GUITAR ADJUDICATION There will be four districts serving as a second round of pilot sites in 2015 due to the cancellation of events in 2014. Those sites will be announced in upcoming Staccato articles. Those sites would include event numbers 79 (Classical Guitar Solo) and 79.1 (Pick-Style Guitar Solo). The rules are slightly different for each so please check that out on the portal.

The AE Committee hopes to have Guitar AE available statewide for the Winter 2016 AE season. Please contact Gayley Hautzenroeder for more information.

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COMING SOON! 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. There will be a searchable rulebook on the portal soon. The committee is also working on an updated New Teacherâ&#x20AC;&#x2122;s Guide to OMEA Adjudicated Events. There are also plans to make the Directorâ&#x20AC;&#x2122;s Report on Adjudicators an online survey in the future.

ONLINE REGISTRATION Once again all events will be utilizing an online registration process. Please make sure that you follow directions. Also, note that all registration deadlines will be strictly enforced. Late entries will NOT be accepted so please make sure you register early and carefully. It is always best to ask questions before registration occurs. Please not that once you register for an event and the deadline passes, you are responsible to pay for those events. Unpaid registration fees may end up prohibiting registration for future adjudicated events until those fees have been paid.

CHANGE OF DISTRICT AND CHANGE OF REGION REQUESTS All change of district and region requests must be made on the member portal. Change of District and

region are only available for large group events. It is NOT possible to make a request for out of District for High School or Middle School/Junior High Solo and Ensemble Events.

Deadlines: - High School Orchestras change of region: 1/1/15 - High School Bands and Choirs change of district: 1/1/15 - Middle School/Junior High change of district: 3/1/15

Change of Region for High School bands and choirs is due the Monday immediately following their district performance

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.

The adjudicator sessions at the conference will focus on Adjudicator Standards for Large Group and 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!

ENGAGE IN MUSIC MAKING EXCELLENCE AT CLEVELAND STATE UNIVERSITY

For full Music Talent Scholarship consideration, students must audition by March 21, 2015

Undergraduate Degree Programs

BM - Composition - Music Education - Music Therapy - Performance || BA - Music Pop and Rock track option Minor in Music || Music Education Licensure and Music Therapy Equivalency

Graduate Programs

MM - Performance - Composition - Music Education - Professional Studies in Music Performance Certificate Program

CSU Department of Music Audition Dates for 2015-2016: January 24, February 21, March 7 (Vocal Only), March 21 (Instrumental & Keyboard Only) For more information please visit www.csuohio.edu/music.

OCTOBER/NOVEMBER 2014

73

ADJUDICATED EVENTS Vocal Affairs

Michael K. Lisi; OMEA Vocal Affairs Chair With the end of the academic year and the beginning of the summer months, your Adjudicated Events Committee takes on some of the most important work to prepare for the events of the coming year. In June, sub-committees met to revise the Large Group Choral required literature lists and to finalize these selections for publication during the 2014–15 academic year.

These lists are a result of a great deal of preparation and deliberation by committee members to provide a diverse list to use not only for Large Group participation, but which can also be used to satisfy your individual programming needs throughout the year. I would like to thank all who took the time during their summer to provide this service to OMEA. I would also like to thank Jennifer Sper and Stanton’s Sheet Music in Columbus for providing space for our committees to meet and for the invaluable service of helping to check the accuracy of publication information.

Please read the information below, as well as other Adjudicated Event columns, and keep it handy as you begin your academic year.

LARGE GROUP CHORAL EVENTS Required List This year the Adjudicated Events Committee has decided to structure the Large Group Required lists for Band and Choir in a different way. We have listened to and discussed suggestions coming from our membership and have decided to add a new component to each list in every classification and voicing. In 74

addition to the 12 required selections that rotate on and off the list, there will be an additional 6 standard pieces that will remain on the list. This will provide a total of 18 compositions from which to select your district and state required selections.

Sight-reading It is important that directors are familiar 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 recently updated A New Teacher’s Guide to OMEA Adjudicated Events (available on the OMEA Member Portal under the Adjudicated Events tab).

Directors who attend Large Group Adjudicated Events with their choirs should also be familiar with the Choral Sight-Reading Guidelines (http://portal. omea-ohio.org/PDF/Forms/ChoralSR_Guidelines. pdf). The sight-reading compositions written for Large Group events are composed within the parameters of these guidelines, so being familiar with them and structuring consistent instruction around them will guarantee a successful experience for your stuTRIAD

dents in the sight-reading room. There have been additions and changes to the guidelines during the past few years so I would suggest reviewing these on an annual basis.

Those interested in music for sight-reading practice should visit CM Shearerâ&#x20AC;&#x2122;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 Vocal Affairs Chair by the deadline for Large Group AE district and state registration and should include the student name, school, class that the group has entered, the vocal part the student sings, and whether the type of Braille used should be contracted or uncontracted. The Braille scores will be available when the group enters the sight-reading room. Since state large group events are administered by the regions and not the districts, there must be a separate request made immediately following qualifi-

OCTOBER/NOVEMBER 2014

cation for the state event. Any requests for enlarged copies must be made according to the same guidelines and deadlines as the request for Braille copies.

Communications We are a member-driven organization of educators who work in varied geographical regions of our state and who represent a diverse population. The Adjudicated Events Committee works for all of its members!

It is important that the Adjudicated Events Committee members receive your feedback concerning all aspects of adjudicated events concerning your studentsâ&#x20AC;&#x2122; experiences and feelings about the process and outcomes. We discuss every concern and piece of communication at our meetings and it is difficult to remember every conversation we might have had with a member at conference or at an adjudicated event.

Please do not hesitate to email or call one of us if you have a suggestion, concern, or positive feedback about any aspect of adjudicated events so we have a formal record.

Please plan to make adjudicated events an important part of your educational year!

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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 excellent start to your school year. As always, the Adjudicated Events Committee has been working hard to assure you and your students have a successful AE experiences. We strongly believe that continued participation in Adjudicated Events contributes to the overall success of school musicians.

Orchestra Directors should take special note that the Required Scales for Solo and Ensemble have been updated to reflect the difficulty of our required repertoire. Please see the attached chart with the new scale requirements. Scales that have been changed are bolded. These scales can also be found in the OMEA Rulebook. Directors, be certain that your students are aware of these changes, and share them with your private teachers. These scale changes go into effect for the 2015 S&E Season.

Speaking of Solo and Ensemble, remember that all ensembles are required to present the adjudicator with an appropriate score notating all parts. This includes duets. If a score is not published, it is up to the director to create one, preferably using a notation software program. Directors continue to misunderstand this rule, so plan ahead carefully.

We all owe a very special thank you to the 2015 Large Group Selection Committee. Steve Cocciola, Kevin Dengle, Stephen Domka, Stephanie Jones, Angela Santangelo, Gretchen Zunic, are true leaders in Ohio String Education. Their insightful conversation 76

and input have given us a list that continues to be an industry standard. Of course we could not have this list without the support and guidance of Dan Clark from Stantonâ&#x20AC;&#x2122;s Sheet Music, so thank you Dan. Looking ahead to the 2015 OMEA Professional Development Conference in Cleveland, our Orchestra AE Session will focus on Adjudicating the Middle School Large Group. We will examine and discuss appropriate standards and feedback for these ensembles. If you are colleagues with a band director who sometimes adjudicates young orchestras, invite them as well. This promises to be an interesting and informative session.

We are always looking for qualified orchestra directors to become string adjudicators. If you have had success taking your students to Adjudicated Events, please consider becoming an adjudicator. We are especially seeking qualified Solo and Ensemble adjudicators to apply to be become Large Group Adjudicators. If you have had success taking your own group to Large Group AE, please consider taking this next step. You may be surprised at what you have to offer our membership.

As always, it is an honor to serve our membership. If you have questions or suggestions, please be in touch. If there is anything I can do to assist you in your preparations for this AE season, please do not hesitate to ask. See you in Cleveland!

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New Required Scales for Strings to take effect Winter 2015.

Changes marked in Bold.

CLASS A

CLASS B

CLASS C

VIOLIN

Major Scales, Octave(s) required in ( ): C(2), G(3), D(2), A(3), E(2), B(2), F(2), Bb(2), Eb(2), Ab(2)

Major Scales, Octave(s) required in ( ): C(2), G(2), D(2), A(2), E(2), F(1), Bb(2), Eb(1)

Major Scales, Octave(s) required in ( ): C(1), G(2), D(1), A(2), F(1), Bb(1)

VIOLA

Major Scales, Octave(s) required in ( ): C(3), G(2), D(3), A(2), E(2), F(2), Bb(2), Eb(2), Ab(2)

Major Scales, Octave(s) required in ( ): C(2), G(2), D(2), A(2), F(2), Bb(1), Ab(1)

Major Scales, Octave(s) required in ( ): C(2), G(1), D(2), A(1), F(1), Bb(1)

CELLO

Major Scales, Octave(s) required in ( ): C(3), G(2), D(3), A(2), E(2), F(2), Bb(2), Eb(2), Ab(2)

Major Scales, Octave(s) required in ( ): C(2), G(2), D(2), A(2), F(2), Bb(1), Eb(1), Ab(1)

Major Scales, Octave(s) required in ( ): C(2), G(1), D(2), A(1), F(1), Bb(1)

BASS

Major Scales, Octave(s) required in ( ): C(2), G(2), D(2), A(2), E(2), F(2), Bb(2), Eb(2), Ab(2)

Major Scales, Octave(s) required in ( ): C(1), G(2), D(1), A(1), F(2), Bb(1), Eb(1)

Major Scales, Octave(s) required in ( ): C(1), G(1), D(1), A(1), F(1), Bb(1)

School of Music Creating the 21st-Century Musician Is there a chair for you in one of our premiere undergraduate touring chamber ensembles? Members of the Howe Wind Quintet, Mansfield Brass Quintet and Asbury String Quartet will receive fulltuition scholarships, side-by-side playing opportunities and masterclasses with visiting guest artists and composers, as well as private study with outstanding professors.

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www.depauw.edu/beheard OCTOBER/NOVEMBER 2014

77

Beautiful, historic campus, 20 minutes from the heart of Cleveland

BALDWIN WALLACE UNIVERSITY

CONSERVATORY OF MUSIC

Baldwin Wallace transitions to

ALL-STEINWAY designation.

Study directly with members of The Cleveland Orchestra 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: arts management and entreprenurship.

2014-2015 Audition Dates Friday, November 14 Music Theatre Saturday, November 15 Music Theatre and Voice Friday, December 5 Instrumental and Keyboard Saturday, January 31 Instrumental, Keyboard and Voice Saturday, February 14 Music Theatre Saturday, February 21 Instrumental, Keyboard, Music Theatre and Voice Saturday, February 28 Music Theatre and Voice For instrumentalists only, you may upload video recordings at digitalaudition.bw.edu.

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.

HIGHER EDUCATION NEWS ASHLAND UNIVERSITY After 26 productive and successful years as Director of Bands, Leonard Salvo retired in May and has handed his baton to Ken Will to direct the AU Marching and Concert Bands.

Dr. Marla Butke, Associate Professor of Music, received Master Teaching Artist status and serves as Vice President of the American Eurhythmics Society.

She taught certification workshops at the University of Texas at San Antonio and Anderson University, and presented sessions on plastique animée at the Dalcroze Society of America’s National Conference and sessions on Dalcroze Eurhythmics at the Ohio Choral Directors Association’s state conference and Ashland’s annual General Music Graduate Workshop.

Dr. Thomas Reed, Professor and Music Department Chair, recorded a CD with “Iron Toys,” including fellow musicians Howie Smith, Rich Shanklin, and George Shernit. The CD features jazz and contemporary saxophone and woodwind quartet compositions by Jim McNeely, Howie Smith, Rich Shanklin, Eliane Elias, John Coltrane, Fats Waller and others.

Dr. Christina Fuhrmann, Professor of Music, presented a workshop at King’s College London as part of the European Research Council project on Music in London, 1800-51, directed by leading opera scholar Dr. Roger Parker. Her workshop “‘The Pippin and the Pineapple’: Rossini and Mozart at the London Playhouses, 1817-30” presented material from Dr. Fuhrmann’s forthcoming book Foreign Opera at the London Playhouses, from Mozart to Bellini.

Dr. Alex Sanchez-Behar, Assistant Professor of Music, had his article “Symmetry in the Music of John Adams” published in the April edition of Tempo.

Other articles accepted to be published include “Dovetailing in John Adams’s ‘Chain to the Rhythm’” in Indiana Theory Review (Fall 2014), and “Finding Slonimsky’s Thesaurus of Scales and Melodic Pat79

terns in Two Concerti by John Adams” in Music Theory Spectrum (Fall 2015).

Dr. Scott Garlock, Professor of Music, was a clinician at the Herter Summer Music Camp in Clear Lake, MI. BLUFFTON UNIVERSITY Dr. Peter Terry is now affiliated with Carl Fischer Music, which has published seven band pieces at all grade levels by the Bluffton associate professor. All seven works are available for listening and examination on the Fischer website, at www.carlfischer.com/ fischer/band_resources.html, and can be ordered online from J.W. Pepper and other distributors. Five of the works are from this year, including “Unleashed,” which is also a J.W. Pepper editor’s choice in the grade 2 concert band category. In addition, “Unleashed” was one of six Fischer-published pieces to be included in the Phi Beta Mu Directors Band New Music Clinic at the Texas Bandmasters Association convention July 27 in San Antonio. “The piece cooks from start to finish, with energetic, bold and exciting material,” notes Fischer about “Unleashed,” calling it “simply outstanding.” Terry’s other 2014 compositions on the Fischer website are “Grove of Titans,” “Windborn,” “Winter’s Knight” and “The Emissary.” For grade 3 concert band, “The Emissary” was premiered in July by the Interlochen Intermediate Wind Symphony. Bluffton recognized the publication of the five pieces from this year with a campus celebration in April. Joining the most recent works on the Fischer site are two Terry compositions from 2013, “Trolls!” and “Black Mast.” Commissioned for Dawson County Middle School in Georgia, “Black Mast” is now on the Florida state grade 1 contest list. For 2015, Fischer has asked Terry to write music for string orchestra, as well as for band.

COLUMBUS STATE COMMUNITY COLLEGE Columbus State Concert Band, under the direction of Thomas Lloyd, will perform its fall concert on Tuesday, October 28. The band will perform music inspired by Lincoln, including the 1909 “Abe Lincoln Centennial March” and John Williams’ music from the film Lincoln. Lincoln presenter Robert Brugler will interact with the audience and narrate Copland’s “Lincoln Portrait.” Also on the program will be the 80

Ohio premiere of “Connacht Rhapsody” by David Holsinger, co-commissioned by the college. The spring band concert on April 14, 2015, will feature a Sousa Salute and will recreate music that might have been heard one hundred years ago on Sousa’s April 1915 concert in Columbus.

Chorus Columbus State, directed by Gordon Franklin, will perform its winter concert at the Columbus Museum of Art on Sunday December 7 at 3:00 p.m. The choir will sing the Bach motet, “Jesu, meine Freude.” The spring concert is also at the museum on Sunday May 3, 2015 at 3:00.

Ruth Sesco, a music adjunct instructor in the Humanities Department, presented a paper at the 2014 International HETL Anchorage Conference on June 1. The theme was “Innovative Learning-Scapes: e-Scapes, Playscapes & More,” with an aim to examine the impacts that social and mobile media and networks are having on learning environments in higher education. Ruth’s presentation, entitled “Creating Effective Internationally Shared Learning Environments,” focused on establishing intercultural equity in the classroom. A copy of her handouts and presentation are available upon request by contacting her at rsesco@cscc.edu.

Rocco Di Pietro, adjunct faculty, presented a week-long exhibit of art work with music at the OSU Urban Arts Space, in the historic Lazarus Building.

The presentation included a concert combining artwork and music in Cameo Portraits performed by the Taubes Ensemble.

CASE WESTERN RESERVE UNIVERSITY The CWRU Music Education Faculty is pleased to introduce our newest member, Dr. Ryan Scherber!

Dr. Scherber joins us as Lecturer of Music Education, teaching courses in instrumental music education and directing the Case Marching Spartans. His research interests center on music perception and cognition. Prior to his appointment at CWRU, Dr. Scherber was a music teacher for the Southeastern Local School District in South Charleston, Ohio, where he taught band, choir, and general music, providing administrative and curricular oversight of the music area. Dr. Scherber earned a Ph.D. and master’s degree in music education at The Florida State University, and a bachelor’s degree in music education TRIAD

D I E H

& C I S U M F

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O L O O H SC

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E V I UN

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Y T I RS

The Heidelberg School of Music & Theatre has been training students for 126 years. We offer you the freedom to choose your own path and gain firsthand experiences that will prepare you for a successful career. At Heidelberg, youâ&#x20AC;&#x2122;ll find like-mined peers who are writing their own plays, performing around the country, and changing the world through music and theatre.

One of Ohioâ&#x20AC;&#x2122;s most reasonably priced private college music schools.

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

Scholarships available up to $20,000 for music majors in all performance areas.

For full scholarship consideration, students must audition before March 1, 2015.

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

Recital performance opportunities for everyone, not just performance majors.

Music majors have no added costs for lessons: save thousands of dollars!

No ensemble scheduling conflicts; easily participate in multiple experiences.

AUDITION DATES Friday, Nov. 7, 2014* Monday, Jan. 19, 2015 Monday, Feb. 16, 2015

Saturday, Feb. 21, 2015 Saturday, Mar. 28, 2015 or by appointment

* Music Preview Day will be held Friday, November 7 from 9am-2pm. Sing with the Heidelberg Concert Choir and bring your instrument to play with the Heidelberg Symphonic Band.

Heidelberg School of Music & Theatre 310 E. Market St. | Tiffin, OH 44883 www.heidelberg.edu

Dr. John Owen jowen@heidelberg.edu 419.448.2085

from the University of Cincinnati, College-Conservatory of Music.

CWRU Music Education hosted Dr. Alice-Ann Darrow of The Florida State University College of Music for a two-day scholar-in-residency this semester. Dr. Darrow led undergraduate and graduate seminars in music education and gave a Music Department Colloquium presentation: “Disability and the Arts: What’s so Wicked about Wicked?” The CWRU NAfME Collegiate Chapter hosted a social event to facilitate the exchange of ideas and broaden our collective vision of inclusive music education.

Marshall Haning, CWRU doctoral student, co-authored “Sight-Singing Pedagogy: A Content Analysis of Choral Methods Textbooks” with Dr. Eva Floyd, University of Cincinnati College-Conservatory of Music, in the Journal of Music Teacher Education (June, 2014).

Dr. Lisa Koops published “Songs from the Car Seat: Exploring the Early Childhood Music-Making” in the Journal of Research in Music Education (April 2014). She was recently appointed to the JRME editorial board.

Congratulations to Dr. Matthew Garrett, who now serves as Coordinator of Undergraduate Studies in Music Education, and to Dr. Nathan Kruse, the new Head of Music Education at CWRU! THE OHIO STATE UNIVERSITY SCHOOL OF MUSIC High school seniors considering a future in music are invited to attend Practice Audition Day, Friday, October 17. Find details at music.osu.edu. Prospective music majors are reminded that they must apply to both the university and the School of Music, and should apply early for scholarship consideration.

Details of the process may be found at music.osu.edu.

The first Audition Day for the 2015-16 academic year will be Wednesday, December 10, 2014. Additional dates are January 16, 24, and February 14, 2015.

In June, the Ohio State Youth Summer Music Programs welcomed over 300 students from a dozen states to its various camps, including the two newest programs: Clarinet Academy and Marching Band Summer Clinic. The Morning String Student Workshop, directed by Robert Gillespie, welcomed guest 82

artist and music education advocate Mark Wood.

The Ohio State Flute Troupe, directed by Katherine Borst Jones, performed in August at the National Flute Association Convention in Chicago. Professor Caroline Hartig was selected as president-elect of the International Clarinet Association. Hartig has released a new CD titled CaraClarina, available on eclassical.com.

The school is pleased to announce the appointments of Julia Shaw, assistant professor in music education. Shaw brings extensive experience as a Kodály educator and choral conductor, as well as scholarly interests in child and adolescent vocal development, culturally diverse learners, teacher education, and socio-cultural issues in music education. David Hedgecoth has been appointed as assistant professor in instrumental education. Hedgecoth has over ten years of public school experience, served as guest conductor and clinician for honor bands and leadership clinics and has served at the collegiate level supervising student teaching and field experience.

Robert Gillespie was recently appointed area head for Music Education.

THE UNIVERSITY OF AKRON The University of Akron is pleased to announce the appointment of 6 new full time faculty members.

Dr. Chris Blaha (Tuba/Euphonium) holds his DMA and MM degrees in Tuba Performance from the University of Michigan. Prior to joining the faculty, Dr. Blaha was the Assistant Professor of Tuba/ Euphonium at Appalachian State University.

Dr. Marie Bucoy-Calavan (Director of Choral Studies) completed her DMA in Choral Conducting at University of Cincinnati College-Conservatory of Music. Dr. Bucoy-Calavan has conducted a diverse range of ensembles from primary and secondary level choirs to community, collegiate, and professional choruses, as well as opera productions.

Dr. Mark Dulin (Trumpet) is a graduate of the Indiana University Jacobs School of Music, the University of Cincinnati College-Conservatory of Music, and SUNY–Stony Brook. Dr. Dulin is a former faculty member at Winthrop University, the Appalachian State University, and the University of North Florida.

Andy Feyes (Assistant Director of Bands) was a public school band director in Bryan, Ohio. He TRIAD

served as Interim Director of Bands at The University of Nebraska for the 2013â&#x20AC;&#x201C;14 academic year. Mr. Feyes earned a BME from Bowling Green State University and a MM in Wind Band Conducting from Kansas State University and is in the process of completing his PhD in Music Education.

Heidi Ruby-Kushious (Flute) received her Bachelor of Music degree from The Curtis Institute of Music and continued her studies at the Yale Graduate School of Music. Her performance experience includes 14 years with the Columbus Symphony orchestra. She has been on the faculties of Kenyon College and Capital University.

Dr. Margaret Tung (Horn) completed her DMA at The Ohio State University and has been on the faculty at Towson University, Kutztown University of Pennsylvania, Olivet Nazarene University, Wheaton College, Zurich International School, and the Marrowstone Music Festival.

UNIVERSITY OF DAYTON In mid-March, more than 60 alumni gathered at UD to celebrate the 40th anniversary of the music

therapy (MUT) training program at the University of Dayton. Later that month, MUT students and faculty attended the regional conference of the American Music Therapy Association in Rosemont, IL. Conference presenters included Dr. Susan Gardstrom, MUT Program Coordinator, and Dr. Jim Hiller, MUT Lecturer, as well as four UD Music Therapy alumni. Gardstrom and Hiller also presented their research at the World Congress of Music Therapy in Krems, Austria.

Dr. Sharon Davis Gratto, Chair, served as guest editor of the ACDA Choral Journal for the September, 2014 special focus issue on multicultural choral music.

James Leslie (Artist-in-Residence, Assistant Director of Marching Band) and the UD percussion ensemble performed at the OMEA State Conference in Columbus. The Pride of Dayton Marching Band was featured at a Bands of America regional competition last fall. Giff Howarth, guest artist, presented a marimba clinic for percussion students this past spring.

The Tau Beta Sigma National Honorary Band

Bachelor of Arts in Music Bachelor of Arts in Music Education

www.muskingum.edu/dept/music www.youtube.com/MuskingumMusic www.facebook.com/MuskingumMusic

Scholarships available to majors and non-majors 2015 Audition Days: January 17 & February 25

Ensembles

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

For More Information: 740.826.8095 or music@muskingum.edu

OCTOBER/NOVEMBER 2014

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Sorority awarded an honorary membership to Dr. Heather MacLachlan (ethnomusicology) in January.

Dr. MacLachlan was the featured “Women In Music” series speaker at Tau Beta Sigma’s North Central Division convention, held in Dayton.

Under the direction of Dr. Patrick Reynolds, the Symphonic Wind Ensemble traveled to New York City in October, performing concerts at schools in Philadelphia and New York, as well as having the opportunity to attend orchestral, operatic and Broadway performances. The University Orchestra (Dr. Patrick Reynolds, conductor) will perform at the Dayton Art Institute Renaissance Auditorium on Sunday, November 2, featuring violin soloist Kara Manteufel. In November Dr. Reynolds will conduct the Dayton Opera production of Mozart’s The Magic Flute.

Dr. Randall Wolfe was principal pianist for the Dayton Philharmonic’s performances of the SaintSaëns Symphony No. 3 in February.

WRIGHT STATE UNIVERSITY SCHOOL OF MUSIC We are pleased to announce the change of the

Department of Music to the Wright State University School of Music. This change in name reflects the recent changes at WSU including WSU’s selection as a “Center of Excellence” in the performing arts by the state of Ohio, the renovation of Schuster Hall as a performance and recording facility, the addition of several new full-time faculty members, and the current renovation of the Creative Arts Center.

Dr. Shelley Jagow was a headliner clinician at band director workshops in North Carolina and Minnesota this summer. Jagow also completed the Meredith Music Publication series of Intermediate Studies for Developing Artists for flute, oboe, clarinet, saxophone and bassoon.

Dr. Christopher Chaffee spent his third summer as a flute faculty member at Interlochen Arts Camp, where he also performed as a soloist with the World Youth Wind Symphony in July. He was an artist faculty member at the 2014 Vianden festival in Luxembourg in August.

Dr. Gretchen McNamara presented two clinics at the International Trombone Festival this past June in Rochester, NY. McNamara and the trombone studio will host two guest artists this year: Mark Kellogg

Department of Music

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ana School of Music Celebrating 146 years of great music-making Scholarship Auditions Saturday, Dec. 6, 2014 Saturday, Feb. 14, 2015 Saturday, Feb. 28, 2015 For more information or to schedule an audition:

330-941-3636 www.ysu.edu

(Eastman School of Music, Rochester Philharmonic) and Matt Guilford (University of Maryland, National Symphony Orchestra) Brody McDonald, WSU faculty coach for ETHOS, held Camp Acappella on the WSU campus this summer. With over 200 students attending from all over the country the week was tremendous. Next year’s camp is already on the calendar for June 23-28, don’t miss it!

The WSU Reeds Festival will be Saturday, Nov. 22 and is excited to welcome back the Akropolis Reed Quintet to teach and perform throughout the day.

Check www.wright.edu/music/festivals for updates on events including Trombone Festival, Horn Festival, Reeds Festival and Tri-State Honor Band.

DANA SCHOOL OF MUSIC The Dana School of Music is proud to introduce two new members of the faculty: Dr. Daniel Keown is the new professor of Vocal Music Education. Dr. Keown comes to YSU from Kansas City where he earned a Ph.D. in music education from the University of Missouri-Kansas City, OCTOBER/NOVEMBER 2014

Conservatory of Music and Dance. Dr. Keown also holds a Master of Music in Choral Conducting from Indiana State University and a Bachelor of Letters and Science in Music Recording from the University of Wisconsin-Oshkosh.

Mr. Joseph Kromholz is the new professor of violin and viola at the Dana School of Music. Mr. Kromholz comes to YSU from Luther College where he served as Visiting Instructor in Violin. Mr. Kromholz is completing a DMA at the New England Conservatory and holds both a Master of Music and a Bachelor of Music from the Cleveland Institute of Music.

The Dana School of Music will host an Open House on Wednesday, October 8, 2014. The event will begin at 9:00 a.m. and provide participants the opportunity to attend classes and rehearsals throughout the day. The Scholarship Audition days for the DSM will take place on Saturday, December 6, 2014; Saturday, February 14, 2015; and Saturday, February 28, 2015. Please call 330-941-3636 for more information about the Open House and to schedule an audition, or go to the Dana School of Music Website at www.ysu.edu.

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IN MEMORIAM James Estep 1948-2014

All the angels in Heaven are singing in tune—and probably a half step higher than the original key—because Jim Estep is now with them, and has surely already given his critique. Jim passed away February 21, 2014 and leaves behind thousands of students, former students, and colleagues who loved him and admired his musical gifts.

As a pianist, Jim was a child prodigy who won his first formal contest at age four. He had the gift of absolute pitch, as well as an ability to transpose music while sight-reading. He graduated from Ada High School in 1966 as Valedictorian and from Ohio Northern University in 1970. He was a student teacher at Allen East with Doyt Yokum, who had a profound influence on him. He also had a master’s degree from the University of Michigan.

Jim began teaching at Tinora High School in 1970 and in 1975 he moved to Defiance High School, where he stayed until he retired in 1998. Under his direction the DHS vocal program became one of the most respected in the state. The choirs at Tinora and Defiance received over 75 OMEA State Superior ratings. He was regarded by his peers as an exceptional director and a formidable critic. Former students characterize his teaching style as sometimes brutally honest with extreme attention to detail but tempered with humor.

Above all he possessed a passion for teaching musical excellence. If Jim was sobbing at the end of the performance, his choirs knew they had met his highest standards.

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Many of his students went on to get degrees in music education as well as performance. One of his protégés noted that Jim had a unique ability to look at a piece of music and know exactly what should be done and how every phrase would sound.

He was a member of OMEA from 1970 to 2002, and worked as an adjudicator for 26 years. Jim also served on numerous committees, selecting music for large group competitions as well as helping compile the Solo and Ensemble list in the 1990s. In 1997 he served as co-chair of the OMEA All State Choir.

The “second love of Jim’s life” was the Miss America Pageant. He attended Miss Ohio as a child with his parents and was involved with all levels of competition his entire adult life. Every year he had the same two seats on the front row right behind the judges.

From those seats he “held court” and was a standard “fixture” advising contestants and their coaches. Jim worked with contenders as they prepared their interview as well as their talent and then often became the coach for the winner helping her prepare for the Miss America Pageant. Hundreds of young women profited and learned from his coaching, his musical training, and his expertise.

Jim was inducted into the Miss Ohio Hall of Fame in 2009 for his contributions to the Pageant, and for giving the Betty Estep Memorial Scholarship award each year in honor of his mother to the most outstanding classical music performance by a contestant.

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He is remembered by all for the musical legacy he left behind. One of his former students left a poem on his memorial page that summed up the feelings of so many of his friends and students. I would like to end this tribute with some of the thoughts of DHS choir alumnus Teresa Edmonds:

I am from DHS A Cappella choir where beautiful music was created on squeaky risers.

I am from a select ensemble that knew every Christmas song, most verses and some in foreign languages.

I am from the “Silent Night” Christmas procession, from still hearing the melodic hummed harmonies and holding onto the twinkling candles in the dark auditorium, feeling like we were part of something sacred. (we were) I am from Jim Estep, a man who fluttered his fingers in the air when he wanted us to sing lightly.

I am from a man who lived and loved music; a teacher who gave all of his students a beautiful gift—the gift of time and laughter and song.

Written by Paula Norwine

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IN MEMORIAM Edmund J. Siennicki 1920-2014

Edmund J. Siennicki died on Saturday, May 3, 2014, of natural causes. He was 94.

He was the first “real, live published composer” I ever met. He played bassoon in the Medina Community Band, which I conduct, and he was a good and true friend. And, he was a bit of a character.

Ed leaves his daughter Barbara (Sergio Barroso) Siennicki; and sister, Helene McKee. He is also survived by many nieces and nephews and his dearest friend, Nellie Renner. He was preceded in death by his wife, Bette J. (Hall); and sister, Virginia Ojeda.

He was a product of the Cleveland Public Schools music program and graduated from J.F. Rhodes High School and completed his bachelor’s degree in music education at Kent State University following his return from military service during World War II. He wrote the Kent State University fight song, Fight on for KSU, which is still played at football games. While a student at Kent State, he was reportedly asked to leave the music building when he was caught playing “jazz” on the piano in the practice room. In 1994, he was presented the Distinguished Alumnus Award from the Hugh A. Glauser School of Music.

He obtained his Master of Arts degree from Teachers College, Columbia University, NYC, in 1948. He was a bassoon student of Simon Kovar and studied composition with Herbert Elwell, electronic music with Sergio Barroso, and consulted with Vincent Persichetti.

Ed taught music in the Cleveland Public Schools 88

at Collinwood High School, Thomas Jefferson Junior High, and Mooney Junior High. Television star Drew Carey was one of his band members. Friend and colleague Don Santa Emma, who was music supervisor for the Cleveland Public Schools, said: “Ed indicated that Carey was a cut-up in class and very good at generating laughs from fellow band members. Ed often had to pull Carey aside to calm him down, telling him that people pay money to hear comedians and that’s where he should focus his efforts rather than band class.”

Former student Nancy Rycbacki Dix commented in an editorial that appeared in the Cleveland Plain Dealer that Ed “had the patience of a saint.”

“Corporal punishment was allowed back in 1955, and he even made that musical. A drum roll prior to the swat, then a crash of cymbals, and at last taps played by the trumpets.”

As an educator, Ed was awarded the Martha Holden Jennings Master Teacher Award in 1964. This award provided him the opportunity to live at the MacDowell Colony, a residence for artists, composers and authors, an experience he treasured throughout his life. Yet, as Santa Emma recalls, not everyone was a fan of his music: “Ed was acting as an adjudicator’s assistant for a Cleveland Public Schools solo and ensemble contest being held at Thomas Jefferson High School. The adjudicator Ed was assisting didn’t know who Ed was and after an ensemble…played one of Ed’s composiTRIAD

tions he muttered ‘who wrote that (expletive) piece?’

Ed commented, ‘I did!’”

As a conductor, Ed was an assistant director with the Ohio State Fair Band. Mary Schrembeck worked with him at the Fair: “The night the fair opened, Ed asked if I would like to go do the bungee jumping ride! I had no intention of doing that and thought he was kidding. He asked just about every day for a week if I would like to jump. Finally I agreed to go down the big slide with him. He was like a little kid.”

As a composer, with over 400 publications of his compositions and arrangements of music for schools, Ed reached an international audience with performances throughout the United States, Europe, and Japan. His compositions have won prizes in the National School Orchestra composition contests. He published for a number of publishing houses including Alfred Music, Ludwig, and Luck’s Music, just to name a few.

He conducted the Medina (Community) Symphony Orchestra for a number of years, played bassoon in the Medina Community Band, and wrote and/or arranged for both groups. He, and friend and colleague Albert Oliver Davis, served as composers-in-residence for the Medina County Fair Honors Ensembles for a number of years, writing pieces for the bands and serving as guest clinicians and running sectionals for the groups. The students in those groups never realized the talent base helping them, just two “old guys” having fun teaching and composing. They loved and

OCTOBER/NOVEMBER 2014

respected both men and loved playing their music.

Ed was kind enough to write and/or arrange numerous pieces for the Medina County Fair Honors Ensembles and Medina Community Band over the years. We often read new works for band with the community band and Ed would kindly agree to conduct first performances on the Square in Medina.

When a student in the junior high honors band was killed riding her bike, we were all crushed. I asked Ed to consider writing a piece in her memory, something that was lyric and yet accessible by young bands. The result was “A Flower for Theresa” (the girl’s name was Theresa). It was premiered by the Medina County Fair Junior High Honors Band the year following the girl’s death. Mary Schrembeck remembers: “The 300-member Ohio State Fair Band adored him and loved to play the music he had written. One of their favorite pieces was ‘A Flower for Theresa.’ The band was very moved by this piece.”

Joyce Wendel, who served with Ed at the Ohio State Fair, sums it up so well: “Ed was such a sweet man, a true musician and educator, always ready to share his stories and his knowledge. He took the time to really listen, and any opportunity to teach.”

Written by Marcus L. Neiman, Conductor, Medina Community Band OMEA President, 1998-2000

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Students Are Challenged By Outstanding Big Band Experience Hal Melia; JECO Secretary Itâ&#x20AC;&#x2122;s a simple process, really. All you do is practice as hard as you can on your instrument or voice, learning everything you can absorb about jazz styles and harmony. Then you put it all together on a recording that puts your best foot forward. Next you submit that recording to be considered in competition with other college musicians from all over the state of Ohio. Finally, if you are good enough (and fortunate enough) to be selected, the work really begins.

Thus goes the saga of a watershed collegiate opportunityâ&#x20AC;&#x201D;the JECO Intercollegiate Jazz Ensemble.

The 2014 edition was directed by David Bixler, a first rate musician and quite the taskmaster. I happened to be at the first rehearsal and saw firsthand that David did not miss a thing. Every intonation issue, every balance and blend, all had to come together.

That attention to detail, that pursuit of artistry, made

the group sound just great in performance. Before a packed house at the Big Bar on 2 in the Hyatt Hotel at the OMEA State Music Convention, these performers acquitted themselves admirably.

Opportunities can be rare for college students to operate at a professional level in a high profile arena. The JECO Intercollegiate Jazz Ensemble provides these students the chance to do exactly that. Also, in observing the teaching style of the ensemble director, students get the chance to pick up on new rehearsal techniques they may use in their own teaching. The selection of big band charts allows for learning pieces these musicians have not played before. Whether familiar with a particular chart or not, this is a setting where they carry away with them increased and accurate information.

Dan Nicora; JECO President-Elect 90

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The history, performance practice, and rehearsal techniques all combine to increase a student’s knowledge and awareness about this important genre. Larger than that, however, is the chance to assess where they stack up with other players from all over the state.

Participants this year came from all over Ohio, including the following schools and their respective jazz directors: Bowling Green State University: David Bixler Capital University: Dr. Lou Fischer Cedarville University: Chet Jenkins, Michael DiCuirci Central State University: Jim Smith, Hal Melia Marietta College: Marshall C. Kimball Ohio University: Matt James The Ohio State University: Dr. Ted McDaniel University of Cincinnati College-Conservatory of Music: Dr. Scott Belck University of Dayton: Dr. Willie Morris Youngstown State University: Kent Engelhardt The student feedback we got here at JECO was overwhelmingly positive. We look forward to even

more widespread participation for the 2015 edition.

I have the privilege of directing that ensemble, and based on the playing level of this year’s participants I’m looking forward to another great group.

The Intercollegiate Jazz Ensemble is only a small part of what JECO does. We are working very hard to increase awareness about jazz all over the state. This happens as various members host and support jam sessions, jazz camps, reading bands, concerts, and other jazz events. We have good people on board already, and like the name says, it’s about connection.

This uniquely American art form needs continual nurturing, especially now in our instant gratification society. We all do this by collaborating, promoting, and generally advancing the music through education. We need audiences that are hip to what a jazz performance is all about. We need students diligently working to carry the torch into the future. Jazz from its very inception has been a shared, collaborative activity, and today is no exception. Help support this art form by becoming a JECO member and attending JECO events. See you at OMEA!WHAT IS JECO?

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“Music Makes Me __________!”

Carrie Harper; MIOSM Committee The summer has passed and it is once again time to greet our students! Even during the summer months, we focus on what we are going to perform for the year, we write our SLOs and review previous data. Finally, we focus on getting the classroom set up for a year of learning.

What about our students? What did they do over the summer months to recharge their systems? What did they do that made them feel successful, rested, and ready to go? I encourage you this fall to take the time to get to know your students. Know who they are outside of your classroom. When we take a step back and study our students, we learn who they truly are.

The statement “Music Make Me _____!” will be

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the slogan for MIOSM again this year. This interactive phrase provides a glimpse of our students’ personalities and can reveal who we are as well. Taking time to be transparent with our students allows creativity, honesty, and an opportunity to share the deeper emotional connections that music and all its genres can express.

This year happens to be the 30th anniversary of the Concert for Music in Our Schools Month. The 2015 musical selections will be favorites from past concerts and Hal Leonard is the sponsor for this musical endeavor. Selections have not yet been finalized at this time. I would encourage everyone to check the website musiced.nafme.org/concert for the song repertoire. Once posted, download the selec-

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tions and their corresponding audio tracks. Then you can begin to craft your own unique concert performance for the month of March.

Many times, concerts and performances tend to have a mind of their own. They grow larger and more elaborate and create a sense of stress rather than enjoyment. This is not the case with the Concert for Music In Our Schools Month! You choose what works best for you. One song, two songs, or the whole set! Celebrate at a specific concert or showcase one song for parents. The beauty of 30 years of concert programming has evolved into what works for you! In these days of more paperwork and trend data, the concert can be streamlined into what you make it! Celebrate in the best manner for your school, schedule and more importantly, your students!

Last year, NAfME launched the Student Performance Video section as a way to showcase student performances. Submit a video of your students and NAfME will post various video submissions for the world to see! Students, parents and administrators

can go online and vote for their favorite videos. This is an excellent advocacy tool. Share the talents and accomplishments of your students while bringing attention to your school and community! The school with the highest views will receive a prize from our sponsor and NAfME. Guidelines for the video production can be found at: http://musiced.nafme.org/ concert/school-video-production-guidelines/.

NAfME is hoping to break last years’ record of 300,000 views world-wide!

Be sure to visit the national website at www. nafme.org for new information regarding the concert and various advocacy tools available. While there, visit the NAfME store. You will find the interactive slogan and all things MIOSM! Please contact me regarding the concert, music selections and possible performance opportunities at carrieharper.music@gmail.com . I would love to hear what is happening in your school community. You are the heartbeat of Ohio music education and what you are doing may have a profound impact on other programs in our state!

NEW CONCERT BAND MUSIC READING CLINIC AND HONORS BAND Nov. 14 – 15

CONSERVATORY OF MUSIC CHRISTMAS FESTIVAL Dec. 4 – 7

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. 2

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

OCTOBER/NOVEMBER 2014

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OCDA Report: We Are What We Teach Dara A. Gillis; OCDA President As I write this, summer has passed, and many of us are preparing for the return to school with all of the excitement and anxiety that brings. As I approach year 22 of my career, I have the same feelings I had as a first year teacher with regard to the joys of sharing new literature with students and the fears of meeting so many new faces at once.

What I have found myself confronting in recent years is a nagging question that was not present in my first few years of teaching. The question is, â&#x20AC;&#x153;Why do I do this?â&#x20AC;? Whether you are a general music teacher, a middle school band or choir director or a collegiate orchestra conductor, the state of education as we know it is at best, precarious and at worst, downright scary. I need not list here the many ways the field of education has changed in recent years causing stress and anxiety far beyond that created by the first few weeks of school.

This begs the question, forgetting the need of a paycheck, why do we remain in the classroom? Unfunded mandates and new professional hurdles created by those who know nothing of what we do have caused me to ask this question with increasing regularity.

I cannot answer for everyone, but I can speak for myself. Quite simply: I am what I teach. I am a musician. I am a music educator. Despite the frustrations we face every day, I search myself for what I could be doing instead. The answer is always the same: nothing.

Not because I am not qualified to do anything else. Not because I could not find work elsewhere but because I am a music educator and this is what I was born to do.

I was born to share this glorious art form with others.

I know that those of you facing particularly difficult challenges would answer similarly if pressed.

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However, despite the satisfaction this realization brings, it does not mean that I will now sit by quietly and allow change to overtake me without voicing opinions and occasionally ruffling some feathers. In fact, it means the exact opposite. It means that I will choose to voice my opinion when I feel it is necessary because I am the authority on my subject area in my classroom. I am the advocate for my students who deserve an exemplary music education. This is a point I feel is lost on many of us as we stand in the forest searching for the trees. We are the authority on our subject area in our classrooms and often we are the only authority on our subject in the entire building.

We not only know how to write the SLO and address the appropriate benchmarks for our students at any level; we can also show every student in the room how to hold and play his or her specific instrument, from the flute to the tuba, with the correct embouchure and fingering. We can teach every student in the room to stand or sit with the best posture for music making and to sing with healthy and appropriate tone for his or her age. We can introduce them, with knowledge and most importantly expertise, to the music of G. F. Handel and Jimi Hendrix, of J. S. Bach and Dave Brubeck. Although our colleagues in the core academic areas are more than competent in their specific areas, they are not responsible for a knowledge base that may encompass over 600 years of music history in any given day.

As you begin the new school year, I hope that each of you will take stock of who you are and why you are in the classroom. You are what you teach and your students deserve nothing less! Have a great year!

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OCMEA President’s Report John Barrett; OCMEA President Hello OCMEA members! The 2014-2015 state board has been hard at work this summer discussing ways in which we can improve our organization to better serve you, our members! While we have started moving forward, there is inevitably room for improvement! We welcome your thoughts, comments and suggestions and encourage you to reach out to us this year to ensure your voice is heard. Be sure to check out the preview for the 2014 Fall Conference and stay connected with us via Facebook (OCMEA) and Twitter (@OCMEA_music). On behalf of the state board, I look forward to a great year in Music Education and getting to know you all!

The 2014-2015 OCMEA State Board John Barrett, President Saxophone, Miami University barretjd@miamioh.edu Patrick Specht, President-Elect Saxophone, Marietta College Pes002@marietta.edu Alexander Looney, Treasurer Voice, University of Akron aal29@zips.uakron.edu Chelsea Hillard, Secretary Voice, Kent State University chillar1@kent.edu

Save the Date! OCMEA Fall Conference The OCMEA Fall Conference will be held September 27, 10:00am at Whetstone High School in Columbus. The State Board is excited to announce that the day’s theme will be entitled “Today’s Teacher” and will cover a variety of topics that were suggested

by YOU, our members! Tentatively, attendees will expect to find sessions on Dalcroze and general music, preparing your ensemble for success at the start of the year, technology in the classroom, SLOs, and even a workshop on music and special education.

Cost of registration is $10.00 per attendee and will include lunch. Keep your eyes out via Facebook, Twitter, and e-mail for information regarding the conference and all OCMEA Sponsored events this year!

OFME Memorial Scholarship Are you student teaching Fall 2014 or Spring 2015? If so, we encourage you to consider applying for the Ohio Foundation for Music Education’s Memorial Scholarship in honor of Edith M. Keller! It is anticipated that five recipients will be fortunate enough to receive an award of $750 to help aid in all expenses related to the student teaching experience.

To learn more and apply, visit the Ohio Foundation for Music Education website (www.ohiofoundationformusiceducation.org) and select Memorial Scholarship.

Michael Reese, TRIAD Editor Percussion, Marietta College msr003@marietta.edu OCTOBER/NOVEMBER 2014

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OMEA GENERAL MUSIC General Music: Getting the Focus in Place for Student Achievement Suzanne Walters; OMEA General Music Chair The beginning of a fresh, new school year is upon us and it is time to begin thinking, structuring, and planning lessons to maximize student achievement. The teaching schedules and environments for elementary general music teachers across the state are as widely varied as the day is long. Some teachers see their students twice per week for 35 minutes, while others meet their classes only once per week for 45 minutes. There are six-day rotations, four-day rotations, and every other week schedules. There are teachers who travel to different schools, some who travel to different classrooms, and others who have dedicated music rooms.

Regardless of the unique features of teachersâ&#x20AC;&#x2122; various schedules, effective teaching with maximal student achievement as the goal of every lesson should be every teacherâ&#x20AC;&#x2122;s focus. Yet, getting focused can prove to be very challenging with twenty or more standards for each grade level and precious little time with students.

Do not despair! Solutions abound! Rather than becoming overwhelmed by the plethora of standards and lack of contact time, feel rejuvenated by the vast number of resources at your fingertips. I would suggest beginning with an open and honest conversation with the colleagues in your own district. Working together to create a list of skills that the students will need upon entering the middle school music programs, for instance, should generate a prioritized approach to the standards, which will begin to get 96

the focus in place for the year.

If there are other elementary music teachers in the same district, having regular meetings and conversations to create or maintain efforts to get and remain aligned with one another is a great way to focus on those standards that are deemed most important. The process of writing SLOs together with district colleagues at all levels will ensure alignment. In addition, the OTES procedures mandate reflection and justification of lesson planning decisions, and while this is a valuable and beneficial habit for all teachers to employ, it may be foreign to many of us. Having had meaningful conversations with colleagues early in the year will be of great help later when completing the OTES paperwork.

Another opportunity that could turn out to be a great resource for achieving greater focus and student achievement in the music classroom is the pursuit of the Master Teacher designation. Completing the rigors of this program requires one to examine in depth every facet of oneâ&#x20AC;&#x2122;s teaching, provoking reflection and analysis of the decisions, habits, and very philosophies of the teacher. This is a good thing! Students benefit from such thoughtful teachers! Watch this column as the year progresses for more conversation about the relevance of the Master Teacher program and its implementation in the elementary general music class.

Of course, it goes without saying that membership and active participation in professional organiTRIAD

zations can only increase teachers’ effectiveness, creativity, confidence, and professionalism. OMEA offers numerous opportunities for professional growth and development, including this journal, the website, the Professional Development Conference and the General Music Mini-Conference, the first ever All-State Children’s Chorus, the Benner Leadership Academy, district and regional activities, and the list goes on.

The arrival of a new school year offers an opportunity for a new approach, a new attitude, a new

idea, a new goal, or a new focus. Best wishes for a successful, rewarding, and focused school year!

Suzanne Walters teaches Elementary General Music in the Jackson Local Schools in Massillon, Ohio. She is the Elementary Repertoire and Standards Chair for the Ohio Choral Directors Association, and the Assistant Director of Children’s Choruses for The Cleveland Orchestra. She lives in North Canton with her husband and three children.

OMEA TEACHER EVALUATION Teacher Evaluation Committee Report Dr. Michelle Muro: OMEA OTES Chair In February, the OMEA Teacher Evaluation committee surveyed dozens of music teachers at the 2014 OMEA Conference in Columbus to gather input regarding professional development needs throughout Ohio. The survey results indicated a desire for more information on assessments as they relate to the SLO process. During the months of March, April, and May, plans were developed to meet our members’ needs for continued professional development through a series of three summer workshops.

On Saturday, June 4, an “SLO 101” workshop was presented by Gary DeVault and Michelle Muro at Bexley High School, near Columbus. This popular one-day session was repeated from our 2013 OMEA summer workshops in order to assist teachers who are new to the SLO process.

On July 14 and August 4, Dr. Steve Benham from OCTOBER/NOVEMBER 2014

Duquesne University presented one-day workshops on music assessment in Cincinnati and Wooster.

Participants gained a broader understanding of assessment strategies and worked in small groups to create SLO assessments in their teaching areas.

Special thanks to the OMEA Executive Committee, Mark Hensler, Nancy Ditmer, Gary DeVault, Andrew Johnson, Glenn Kulma, Phil Nagy, and Amanda Blevins for their assistance with our summer workshops.

This fall, our OCMEA members have requested an introduction to the SLO process during their September 27 meeting in Columbus.

The latest updates on the SLO process are always posted on our OMEA website. Please utilize over 35 on-line OTES resources posted in the members portal!

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PROFESSIONAL DEVELOPMENT & ASSESSMENT Workshops, Continuing Education,Camps, and More for Teachers & Students THE OHIO STATE UNIVERSITY SCHOOL OF MUSIC VIOLA DAY October 25, 2014 Grade 7–Adult Online registration deadline: October 1 Online student evaluator deadline: October 10 music.osu.edu/outreach

OCTOBER/NOVEMBER 2014

CLARINET SPECTACULAR HOSTS INTERNATIONAL CLARINET ASSOCIATION MID-AMERICA FESTIVAL November 14–16, 2014 Guest Artist: Richard Stoltzman Early registration benefits deadline: October 15 music.osu.edu/outreach HIGH SCHOOL HONOR BAND FESTIVAL January 16–18, 2015 Submit application and audition recording through Acceptd Deadline: October 31, 2014 music.osu.edu/outreach

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TEACHER EVALUATION Student Assessment in the Ohio Teacher Evaluation System (OTES): Is It Improving Instructional Practices in the Music Classroom?

Rachael Fleischaker; Canton City Schools Trends in teacher evaluation have been changing rapidly since 2009. Teacher pay and tenure, which were once based on factors such as seniority and educational degrees earned, are now being based, at least in part, on student achievement or growth in a particular content area. The State of the States: Trends and Early Lessons on Teacher Evaluation and Effectiveness Policies report from the National Council on Teacher Quality (2011) stated that before 2010, only four states used student achievement as a predominant factor in teacher evaluation. By 2011, the number had jumped to 23 states using student achievement as either a predominant factor (Ohio) or as a small percentage of teacher evaluation.

Considering the complex nature of designing and implementing student growth measurements for music content areas, many school districts have turned to the music staff for input. This is an opportunity for the music teachers to clearly define teaching goals and to collect and analyze data comparable with other subject areas. This is also a challenge to many music teachers who find themselves in the position of being the only music expert in a building, or who do not have training in assessment techniques that will produce reliable and valid measurements.

This study, which was conducted in the spring of 2014, investigated the impact of student growth measures required by the Ohio Teacher Evaluation System (OTES) on instructional practices of music 100

educators. For the full research report, see Excellence in Performing Arts Research: Vol. 3, Article 1.

The participants were music teachers employed in public school settings from seven counties in northeast Ohio. They specialized in a variety of content areas (instrumental, vocal, and general) with students ranging in age from kindergarten through high school. Participants taught in diverse geographic, ethnic, and economic situations. Data was collected via an online survey. One hundred and ten music teachers voluntarily answered questions about their demographics, current situations, professional involvement in the development of student learning objectives, and the impact of the OTES model on their instructional practices.

RESULTS The responses to the questions and the comments revealed that a dynamic and passionate conversation is happening about music instruction and assessment.

Instructional practices were affected by OTES in various ways. The responses indicated that many teachers are reflecting on their instructional practices and in particular their methods of assessment.

While many participants saw the benefits of the OTES model, the positive aspects were tainted with drawbacks of the system.

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BENEFITS Participants were asked to describe the benefits for themselves as teachers. Responses included the ability to better gauge strengths and weaknesses of students (47%) as well as the concept that testing gives validity to music as core subject (43%) were the most beneficial elements of the SLO process. Other factors which were described as beneficial were more focused instruction and alignment of state standards to the curriculum. However, one quarter (25%) of the participants saw no benefit in the SLO process for teachers.

When describing benefits for students, increased knowledge of content represented 35% of the responses and having more awareness of personal growth represented 27% of responses. Factors that were similarly weighted included increased musical skills (21%), more individualized attention from the music teacher (22%), more focus on personal academic achievement (21%), and more success at setting personal goals for growth (21%). Better performances were listed as a benefit for 12% of the respondents. Strikingly, 35% of participants described the implementation of SLOs and assessment strategies as having no benefit.

DRAWBACKS The most frequently cited drawback for students, loss of time on task engaging in musical activities, was reported by 68% of the participants. Higher frustration or test anxiety was also listed by 53% of respondents and performance anxiety was listed by 15%. Only 10% of participants indicated that the implementation of SLOs had no drawbacks for students.

A large majority of responses (76%) indicated that a drawback for teachers was the extra work load with administering and grading tests. Nearly half of the participants (48%) also listed decreased time engaging in musical activities with students as a drawback. Inconsistency in the tests concerning reliability and validity were listed by 41% of the participants. Extra lesson planning was listed by 37% of participants as another drawback of the SLO implementation.

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CONCERNS Frequently cited concerns about OTES were inadequate time with students (62%), impact on teacher evaluation (53%), and relevance (52%).

Other concerns were adequate testing materials (37%) and adequate training for assessment procedures (35%).

Of the reservations that participants had, the type and method of assessment were called into question frequently. Many participants commented that individual assessment was cumbersome when working in large group situations. Inadequate training in writing and administering assessment was also a concern. Comments reflected that music teachers were not always given proper training and adequate materials to give authentic assessments. As one participant stated, â&#x20AC;&#x153;Assessments are only as good as the teacher who writes them.â&#x20AC;?

Concerns alluding to ethical issues were evident.

Teaching to the test was a theme that was repeated many times. Several participants felt that SLOs were creating too much of an emphasis on too narrow of a curricular focus. The subjective nature of assessment that measures performance aspects of music were also discussed. If the teacher being evaluated is the same teacher administering the assessment, pressure to score low on pre-tests and high on post-tests exists.

Whether or not OTES is an accurate indication of music teacher effectiveness was an issue of concern, but was not the sole basis of the comments.

Frustration about inconsistencies in terms of amount of time with students and structure of programs indicated a genuine desire on the part of the participants to see the students succeed in music and to have fair and equal access to quality music programs.

These music educators were placing the effects the OTES model has on students over the effects that it has on themselves.

NEXT STEPS The responses to this survey revealed that music educators are dedicated to giving high quality instruction and willing to examine their own practices in order to achieve success for their students.

While this study shed light on ways in which the OTES system has affected teachersâ&#x20AC;&#x2122; instructional TRIAD

practices, more work to is needed determine what will facilitate music educators in their endeavors to ensure student success. Of particular interest would be a study of SLO models used in different districts to determine what skills and concepts are being assessed and which assessments were authentically gauging student skills and knowledge.

As the first year of implementation neared an end, this study articulated conversations that OTES and SLOs have sparked among colleagues and the reinforced need for self-evaluation on the part of music educators. Potential benefits and drawbacks of the system were judged not only by how individual teachers will fare, but more importantly how the OTES system will ultimately affect students. These conversations and the passionate music educators who are willing to engage in them will shape the way music is taught and assessed across Ohio.

References: Fleischaker, Rachael. (2014) “Student Assessment in the Ohio

Teacher Evaluation System (OTES): Is It Improving

Instructional Practices in the Music Classroom?,” Excel-

lence in Performing Arts Research: Vol. 3, Article 1.

National Council on Teacher Quality. (2011). State of the states:

Trends and early lessons on teacher evaluation and

effectiveness policies. Teacher Quality Bulletin, (October

2011). Washington, D.C.

Rachael Fleischaker is a doctoral student in Music Education at Kent State University, an adjunct professor of Music Education at the College of Wooster and an elementary music teacher in the Canton City Schools.

Rachael has been a clinician at the Ohio Music Education Association State Conference and an invited lecturer at The Ohio State University Mansfield Campus. She holds a Bachelor of Music Education degree from The College of Wooster and a Master of Education in Curriculum and Instruction degree with an Emphasis on Urban Education from Kent State University.

Music at Malone University

EnsEmblEs University Chorale, Chamber Choir, Chapel Choir, Opera Workshop, Symphonic Band, Marching Band, Jazz Ensemble, Piano Ensemble, Flute Ensemble, Percussion Ensemble, Electro-Acoustic Ensemble DEGREEs B.S. in Music Education, B.A. in Music, B.A. in Music Production, B.A. in Music Ministry, Certificate in Piano or Voice Pedagogy AUDITION DATES Saturday, December 13, 2014 Monday, January 19, 2015 Monday, February 16, 2015 (Discover Day) Saturday, March 14, 2015 Canton, Ohio | 330.471.8231 | www.malone.edu/music

OCTOBER/NOVEMBER 2014

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CURRICULUM & ASSESSMENT Teach Like a Carefree Child at the Beach!

Shawn Reynolds; Howland Local Schools As I sit on my last day of vacation in Ocean City, Maryland, I watch my two young sons play like they do not have a care in the world. I marvel at how they constantly learn from their surroundings and trying new things. I cannot help but relate their carefree perspective to my teaching career and wonder why we teachers aren’t learning more from watching kids at the beach. We music teachers often need a gentle reminder to keep things in perspective, especially with the current ever-changing (and often negative) educational landscape. Seeing everything through a child’s eyes while they are playing on the beach can give us much perspective on staying positive in our daily careers, amidst all of our burdensome requirements. Thus I provide “kidisms” and their “edu-translations” to help us keep perspective.

month old picked up a huge handful of sand and shoved it in his mouth. After trying repeatedly to prevent this by removing the sand, we realized the worst that would happen is he would learn from his mistake (...and have a couple hands full of sand in his diaper the next day!).

Edu-Translation: Sometimes we have to let our students “eat some handfuls of sand” and learn from their mistakes. The motto in my classroom is: It’s ok to make mistakes—that is how we learn! My students embrace this mantra and take ownership in their learning based on the mistakes they have made. In the end, what is the worst that can happen? (Hopefully you didn’t say they would end up with sand in their diaper). Learning will occur when mistakes are made!

Child: There is rarely calm on vacation: there is always chaos!

Edu-Translation: No matter how hard we try, there is always going to be chaos, especially in a music classroom. We as teachers are often “type-A” personalities who thrive on order and organization.

When order isn’t present, we begin to twitch. We need to learn to embrace the chaos and use it to our advantage. Sometimes the most productive learning in my classroom happens amidst the chaos of teaching a new concept. Embrace the chaos!

Child: Kids are always running around, squealing, and having fun at the beach. They don’t have a care in the world and could care less who is watching or what anyone thinks.

Edu-Translation: Sometimes we have to forget who may be watching or observing and have a little fun. We are stressed over SLOs, OTES, and all of the other acronyms, and we can lose sight of why we do what we do. The negative stress created by all of the hype and rhetoric is not something we can allow to overtake us. We must look past the “junk” and re-discover our enjoyment for teaching. Why did you go into music? Because you love it and it makes you

Child: Upon being introduced to the beach, my 9 104

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Child: Without an afternoon nap, the kids tend to get grumpy and say mean things they don’t necessarily intend!

Translation: When a situation is not good or someone makes you mad, refrain from responding while you are angry. Sleep on it and think it over.

Think very clearly about what you want to say and speak only based on fact—not emotion. Chances are, after having let the situation sink in for a bit, you will respond more rationally, based only on facts, and not the emotional “heat of the moment.” Waiting a bit to respond to a negative situation will only drive your point home, and may save you from saying something you may later regret. This is also a great lesson to teach your students. Teach them a real-life skill of self-control and learn to “sleep on it” before saying something you may regret.

Child: On a particular rainy and gloomy day, we were stuck inside, unable to run off our energy. We needed a change of scenery. We got in the car and found something new to do and changed the scenery—we were creative! It broke the monotony and gave the kids a new experience and perspective.

Translation: Make it a point to change the scenery a bit. Change your classroom setup without warning, or change assigned seats according to birthdays or date of birth. Perhaps you can make a new and creative seating formation in your room just to keep the kids on their toes and to keep things fresh and new. It can do wonders for your teaching, giving

OCTOBER/NOVEMBER 2014

you a fresh perspective, a fresh ear, and might even spark some fresh (and innovative) new teaching ideas.

Our jobs are constantly evolving, and whether we want to admit it or not, our profession seems in constant chaos. If we allow ourselves to be negatively affected, it will affect our teaching, and we become part of a vicious cycle. We must not become part of the problem, but rather a part of the solution.

Embrace the chaos and look for the positives in our career. We cannot get frustrated and become crotchety old “has-beens.”

Somewhere a teacher inspired you and taught you to love music. As a result you chose to enter an amazing profession teaching an even more amazing subject to amazing students. Keep a realistic perspective on what we do. Ultimately, the ones who matter are not the administrators, school board, politicians, or any other policy makers. Who matters most? Our students! Amidst all of the chaos we must reach them through the power of music. Be more like a carefree child playing at the beach! Now, more than ever, at a time when everyone is supposed to teach “inside the box” we must be at our creative best and think “outside the box.” Teach like you are a carefree child at the beach!

Shawn Reynolds teaches grades 6–8 middle school bands in the Howland Local Schools in Warren, Ohio and is an assistant band director for the Howland High School Tiger Marching, Concert, and Symphonic Bands. Reynolds also is professor of oboe at Westminster College (New Wilmington, PA) and principal oboist with the Greenville (PA) Symphony Orchestra. He has presented at OMEA Professional Development Conferences, as well as other state, regional, and international conferences.

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

Yes, I want to support music education in Ohio and insure that the benefits acquired by students experiencing music are available for them now and in the future. Please apply my gift as indicated.

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

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

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_____Parent

_____Friend of Music Education

Donation Information: Donation Amount:

$___________________

Donation Category:

_______ Foundation General Fund for Financial Growth

(Check area for donation)

_______ OMEA Memorial Scholarship Fund

_______ Charles H. Benner Leadership Academy

_______ This is my Annual Campaign Contribution for calendar year 2014.

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

(Example: John and Jane Smith) _________________________________________________ , or

please do not list my/our names.

This gift is: In Recognition of:______________________________________________________________________

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

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

A donation acknowledgment letter will be provided for tax purposes.

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

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

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

Send this completed form with check/cc payment info to: _Ohio Foundation for Music Education Attn: David N. Adamson, Development Director

5379 West Mill Drive, Highland Heights, OH 44143-3144 108

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PUBLICATION SCHEDULE

TRIAD ISSUE October/November 2014 December ‘14/January ‘15 April/May 2015

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

DEADLINE DATE* August 11, 2014 October 6, 2014 February 16, 2015

POSTING DATE** October 6, 2014 December 8, 2014 April 13, 2015

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.

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