TRIAD - FALL 2015

THE OFFICIAL PUBLICATION OF THE OHIO MUSIC EDUCATION ASSOCIATION

October/November 2015 Vol. LXXXllI, No. 1

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IN THIS ISSUE FROM THE DESK OF...

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Editor of TRIAD - Marc Parulekar OMEA President - Terry Herschman

TEACHING TIPS 14 18 20 24 26 28

BAND - Dr. Brandon D. Jones; Wittenberg University CHOIR - Dr. Richard Schnipke; Xavier University GENERAL MUSIC - Dr. Sarah H. Fischer; Twelve Corners Middle School JAZZ - Mike Smith; The Ohio State University MULTICULTURAL - Dr. Linda B. Walker; Kent State University ORCHESTRA - Douglas Droste; Ball State University

MUSIC MASTERCLASS

32 BRASS - Dr. David Hedgecoth; The Ohio State University 36 WOODWINDS - Dr. Gail Lehto Zugger; Capital University

NEWS & COMMITTEE REPORTS 40 43 47 54 56 58

Adjudicated Events - News and Updates Adjudicated Events - Vocal Affairs Higher Education News In Memoriam - Robert D. Jorgensen Jazz Education Connection of Ohio Ohio Choral Directors Association

PROFESSIONAL DEVELOPMENT & ASSESSMENT 60 63 80 80 82

Workshops, continuing education, camps, etc.

2016 OMEA Professional Development Conference Section OFME Music Education Donor Form OFME Donor Link TRIAD Publication Schedule & Advertising Index

EDITOR: Marc Parulekar

editor_of_triad@omea-ohio.org DESIGN/PRODUCTION: Amy Annico, Director of Media and Publications

media_director@omea-ohio.org

ADVERTISING: David N. Adamson, Director of Business Advertising/Exhibits

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.

OCTOBER/NOVEMBER 2015

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OMEA 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 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 Mark A. Hensler Director of Professional Development 513.240.1572-O pd_director@omea-ohio.org William K. Guegold Director of Adjudications 330.592.0539-O adjudications_director@omea-ohio.org Dane Newlove Director of Adjudicated Event Materials and Awards 419.394.2232-O ae_materials_director@omea-ohio.org OMEA is an Affiliate of NAfME National Association for Music Education www.nafme.org Allied Organizations of OMEA: Ohio Alliance for Arts Education www.oaae.net Ohio Arts Council www.oac.state.oh.us Ohio Choral Directors Association www.ohiocda.org Ohio String Teachers Association www.ohiostringteachers.org Jazz Education Connection of Ohio www.jecohio.org

OCTOBER/NOVEMBER 2015

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

OCMEA OFFICERS Patrick Specht OCMEA President ocmea_president@omea-ohio.org

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

Luke Grieshop OCMEA President-Elect ocmea_president_elect@omea-ohio.org

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

Sarah Bishop OCMEA Secretary ocmea_secretary@omea-ohio.org

Dana Hire Secretary secretary@omea-ohio.org

Michael Reese OCMEA Editor ocmea_editor@omea-ohio.org

Marc Parulekar Editor of TRIAD editor_of_triad@omea-ohio.org

Miwako Hayama OCMEA Treasurer ocmea_treasurer@omea-ohio.org

Benjamin Factor Treasurer treasurer@omea-ohio.org 2015-2016 TRIAD EDITORIAL BOARD EDITOR Marc Parulekar

GRAPHIC DESIGN/LAYOUT Amy Annico

Pickerington North High School

Ohio Music Education Association

PAST EDITOR Matthew Warner

JAZZ Mike Smith

Cincinnati Hills Christian Academy

The Ohio State University

BAND Scott Jones

MULTICULTURAL Linda Walker

The Ohio State University

Kent State University

BAND Jeff Gershman

ORCHESTRA/STRINGS Mark Sholl

Capital University

Hilliard Davidson High School

BRASS Chris Blaha

TEACHER EVALUATION Heather Russell

University of Akron

Cleveland State University

CHORAL/VOCAL Rich Schnipke

TECHNOLOGY Brian Laasko

Xavier University

McKinley High School

CURRICULUM & ASSESSMENT Nathan Kruse

WOODWINDS Shawn Reynolds

Case Western Reserve University

Youngstown State University

GENERAL MUSIC Christina Pelletier-Blazakis The Ohio State University

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FROM THE DESK OF...

Marc Parulekar, OMEA Editor The state of Ohio is blessed with outstanding music educators who strive to deliver high-quality music instruction. Each and every day, the students of Ohio learn about music in vibrant elementary classrooms, deliver heartfelt music performances, and develop the skills needed to fulfill their creative potential. There is no doubt that the experiences and lessons learned in the music classroom are essential ingredients to a comprehensive education.

Despite our many successes, our ever-changing world continuously presents us with new challenges.

High stakes testing, newly implemented teacher evaluation systems, and fiscal pressure weigh heavily on our minds. But change can also bring about new opportunities for teaching and learning via new classroom technologies, pedagogical advancement, and the introduction of new music genres. Because change is inevitable, it is important that music educators continually evolve to meet future challenges while striving to maintain our honored traditions.

One of our greatest responsibilities is to ensure that future generations continue to receive a relevant and

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meaningful music education.

Grassroots advocacy is essential if we are to safeguard the future of music in our schools. We encourage you to seek out opportunities to build relationships with decision makers by inviting them to concerts, offering to perform at community events, or sending them recordings/videos from classroom activities. Take time to communicate with elected officials about the importance of music education for all students. Writing to decision makers is an effective way to communicate the wonderful teaching/ learning occurring in your classrooms and to advocate for music in the schools. Below are links to resources from NAfME and contact information for Ohio legislators. Together we can make a difference.

- Find your legislator: https://www.legislature.ohio. gov/legislators/find-my-legislators - Find your district: http://www.sos.state.oh.us/elections/candidates/district%20maps.aspx - NAfME Resourcs: http://www.nafme.org/wp-content/files/2015/07/Connecting-With-Legislators.pdf

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2015 OCTOBER/NOVEMBER TRIAD We hope to continue the work of providing our membership with informative articles and timely information. Special thanks to our amazing Director of Media and Publications, Amy Annico, for her work in making Triad a great resource for music educators. Please feel free to contact me via email (editor_of_triad@omea-ohio.org) to submit articles or to provide feedback. Below are a few articles you might find interesting, just click the article title to see the full text.

- Many consider improvisation to be one of the foundations of composition and musical creativity.

In this issue Mike Smith explores techniques to help students learn basic skills in improvisation that can be applied to any ensemble and age level (Teaching Improvisation in the Ensemble Rehearsal).

- Little or no funding is a reality for many general music teachers: Dr. Sarah H. Fischer provides some practical advice for incorporating world percussion into the general music classroom (World Percussion in the Urban Schools).

- Professor Douglas Droste shares some tips and tricks to help your string players improve intonation,

technique and to rehearse more efficiently (New Ideas and Old Reminders for the School Orchestra).

- Selecting literature for performing ensembles is one of the most important tasks of the ensemble director. Dr. Brandon D. Jones (Choosing Quality Band Literature That Teaches and Inspires) and Dr. Rich Schnipke (Building Identity in Your Women’s Chorus) present frameworks to guide the selection of quality repertoire that will foster musical growth and achievement.

Dr. Parulekar is in his 17th year of teaching and 13th year serving as director of bands at Pickerington North HS. He has also served as a graduate assistant director with the Ohio State University Marching Band, director of bands at West Jefferson High School and as assistant band director at Pickerington High School. Dr. Parulekar is a graduate of The Ohio State University where he earned a Bachelor of Music Education Degree, Master of Arts in Music Education, and Doctor of Philosophy in Music Education. He is a member of FBM, MENC, KKY, FMA, and an Eagle Scout. He and his wife, Tracie, make their home in Pickerington, Ohio with their nine-year-old son, Andrew, and three-year-old daughter, Abby. They enjoy watching Ohio State Football and attend the East Side Grace Brethren Church.

Practice Audition Day for High School Seniors Friday, October 23, 2015

High School Honor Band Weekend Friday, January 15 - Sunday, January 17, 2016 Online Audition Deadline: Friday, November 6

Middle School Honor Band Festival Saturday, February 27, 2016 Online Nomination Deadline: Thursday, January 7

Junior Visit Day for High School Juniors Friday, April 8, 2016

Audition Days for the 2016 - 17 Academic Year Thursday, December 10, 2015 Friday, January 15, 2016 Saturday, February 6, 2016 Saturday, February 13, 2016

For admissions and event information visit music.osu.edu

OCTOBER/NOVEMBER 2015

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FROM THE DESK OF...

Terry Herschman, OMEA President “Often we set out to make a difference in the lives of others, only to discover we have made a difference in our own.”

These words of Ellie Braun-Haley speak to me of the life I have known. If there were ever class lessons or rehearsals when, at the end of the day, I didn’t come out having been changed for the better or having learned something – well, I don’t remember them. How lucky we are to spend our days in so-called “work” which allows us the opportunity to interact with our students in the artistic, creative, positive and productive art of music. I wish you a most spectacular year of growth and stimulating experiences in your classrooms and performances!

Welcome back to school!

Thank you for your membership in OMEA. It is not only recognition of your professional accomplishment, but also an opportunity to interact with like-minded individuals who care as you do about changing the lives of students through best practices in music education. I hope your year brings renewed enthusiasm for your position and that the familiar faces and sounds of your students reignite the passion that landed you in this profession. If you are new to the association, we celebrate your commitment to Ohio’s student musicians and to your colleagues.

I am most grateful to our members, who acted this summer, in support of the reauthorization of ESEA, now called “Every Child Achieves.” Mike Crist and I visited Capitol Hill once again this summer just prior to the critical final debate of the Senate bill. The week was upbeat and glorious. Finally, 8

Music and the Arts will be enumerated specifically as core subjects in the compromise bill being crafted by a House/Senate Conference committee. And, with regard to one of the amendments, Chris Woodside, Assistant Executive Director for NAfME sent us this acknowledgement: “That of all the state MEAs, Ohio sent the most letters to Congress on behalf of the Opportunity Dashboard of Core Resources amendment (over 350). This is an impressive accomplishment and I just wanted to thank you, and your board, for the collective leadership being shown on national and state level advocacy issues. Thank you again and my best to everyone in Ohio.” Though that particular amendment did not pass, your actions were greatly appreciated.

We have been reminded that we must be vigilant in monitoring the legislative and bureaucratic activity that affects our practice, both nationally and in the state. Clearly, your interest in this has made a difference. I am asking you to keep up with the notes from OAAE (Ohio Alliance for Arts Education) as well as the national Policy Alerts from Chris Woodside, which will be posted to all of our social media outlets and linked directly to NAfME information sites.

Back on the home front, look for these developments this fall: • Amy Annico, Director of Media and Publications offers an official OMEA blog that will be mobilefriendly, sharing articles easily via email and social media. The articles will stay permanently online for referencing in the future.

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• Our Director of Technology, Greg Taylor has been busy preparing a sleek, new look and advanced functionality for our website as accessed from newer computers, tablets and phones. Roger Hall reports that the new website delivers “LOTS of content without doing lots of page changes.”

• Our membership campaign has officially begun and our team of volunteers will be making contact with music teachers who are not yet members of OMEA to make sure they know that they “belong” with us. If you are aware of new staff in your area, be sure to lead them to our professional organization. You might consider inviting them to accompany you to your District fall meeting.

• Nominating committees in Districts 8, 9, 10, 11, 12, 13, 14 and NE, NW and SC Regions will be seeking qualified candidates for office. If you are ready to seek leadership, discuss your interest with your District or Region officers.

Earn your

I hope you will begin the year with the conviction that your class is one of the most valuable periods of time in the school day for every student who enters your classroom. If you do, your enthusiasm and demeanor will draw those students into your amazing world of music. It may be true that you can lead a horse to water but you can’t make it drink.

However, our goal should be to make our students thirsty for the beauty and power of music!

Best wishes for success!

Terry Herschman earned both B.M. and M.M. from Kent State University, with an emphasis in choral conducting.

She retired from teaching in 2014 after 36 years in the Mentor Public Schools. She directed Junior High and High School Choirs, taught General Music, Music Theory and Composition and served as music department co-chair. She has served OMEA as an adjudicator, clinician, large group event host, music selection committee member, District 7 Treasurer and State Treasurer.

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MUSIC DISCOVERY DAY | OCTOBER 19, 2015

Get to know us at Music Discovery Day this October. In this full day event, students can attend rehearsals of the college’s large and small ensembles and can also sit in on classes and workshops. www.bgsu.edu/musicdiscovery

AUDITION DAYS | 2015 - 2016 December 5, 2015 January 23, 2016 February 6, 2016 February 26, 2016 (vocalists only)

February 27, 2016 (Music Talent Award deadline) April 16, 2016 (includes Junior “Trial” Audition Day)

Encourage your students to prepare in advance, and audition with us during one of our upcoming audition days. www.bgsu.edu/musicauditions

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We successfully balance the intensity of a conservatory experience with a culture of encouragement, personal engagement, and creativity. Instruction by Fulbright and Guggenheim level professionals and an unusually low faculty to undergraduate ratio of 6:1 position music students to thrive in a rigorous academic environment defined by an average ACT score of over 26.

To learn more, please call (419) 372-2181 or visit BGSU.edu/music Prospective students must apply to BGSU in addition to auditioning for the College of Musical Arts.

L E V E L l l - O M E A PAT R O N Baldwin Wallace University 275 Eastland Road Berea, OH 44017 lciszczo@bw.edu www.bw.edu/conservatory

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

Capital University Conservatory of Music

Case Western Reserve University

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

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Ohio Northern University

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University of Akron

University of Dayton

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LEVEL l - OMEA SPONSOR Ashland University

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Marietta College

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

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

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

OCTOBER/NOVEMBER 2015

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TEACHING TIPS BAND Choosing Quality Band Literature That Teaches and Inspires Dr. Brandon D. Jones; Wittenberg University

With the beginning of a new school year comes an important question for ensemble directors: what do we play? Too often this crucial decision is pushed aside for more pressing administrative matters that demand our attention: fundraisers, uniforms, booster meetings, etc. How can we best serve and teach our students with quality literature? What factors influence this decision? How can we most efficiently find, learn, and teach this literature?

In performing ensembles, our curriculum is shaped by the literature we program. The music is our textbook. A great parallel exists in the high school English classroom where the students are studying Thoreau, Whitman, Shakespeare, and Steinbeck. Not only are these authors considered standard for pedagogical usefulness, but more importantly they expose students to great works of art. We should strive to do the same in our ensembles.

There have been a number of studies and attempts to determine criteria for choosing high quality band literature. Several sources are useful in highlighting important factors to consider in making repertoire choices.1 Due to space limitations they cannot be listed fully here, but can be found in a handout from the author’s 2015 OMEA PDC clinic at http://tiny.cc/JonesOMEA2015 Several themes emerge when examining these sources: variety in compositional mechanics, atten14

tion to emotional impact, contrast, and unpredictability in addition to pedagogical usefulness. We need to ensure that we are choosing repertoire that is not merely pedagogical, i.e. teaches certain keys, scales, rhythms, etc. but that stands on its own as a work of art that could exist outside the realm of band music. This not only satisfies National Standards but makes for a more fulfilling experience for both the students and director. Distilling the criteria into musical and historical elements could look like this: • • • •

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MUSICAL ELEMENTS Form: Does it have a form? Is it sufficiently unpredictable?

Melody: If it has melodies, are they well-crafted without being trite? If it’s non-melodic, does it utilize interesting compositional techniques?

Harmony: Does it approach harmony in interesting/unpredictable ways?

Rhythm: Does the rhythmic structure make sense within the context of the other elements?

Does it avoid constant ostinatos as the rhythmic underpinning of the work?

Timbre: Does the music use interesting combinations of colors? Are there sufficient passages for solos/solis without constant doubling of parts?

Expression: Does the piece allow for elements TRIAD

of expression such as rubato, interesting phrasing, ebb and flow?

HISTORICAL ELEMENTS • Style periods: Medieval, Renaissance, Baroque, Classical, Romantic, Impressionist, Expressionist, Minimalist, Modern • Genres: dance music, folk music, suites, concertos, symphonies, preludes, overtures, tone poems, etc. Does the music represent a certain historical trend? Is there a connection to other arts?

With the desire to teach the best literature comes practical factors that we need to consider: 1. Level of ensemble: will the group be appropriately challenged yet successful?

2. Instrumentation: strengths and weaknesses of sections, good soloists, opportunities for substitution or re-arranging.

3. Rehearsal time: How many weeks to prepare each performance? Testing schedules?

4. Types of performances: Adjudicated Event, Pops, Holiday, etc.

5. Personal tastes: Do YOU believe in the piece? What types of music do you gravitate to? Stay away from? Don’t know as much about? Developing our tastes and broadening our knowledge of the repertoire is crucial if we want to do the same for our students!

SHORT-TERM AND LONG-TERM PROGRAMMING It is important to think about both the current year and future cycles. What are your pedagogical and expressive goals for your ensemble? What do you want your students to know and be able to do when they leave your program? To begin this process, lay out each performance and the parameters for each. A simple high school example: Holiday concert: 5 weeks prep; 3 pieces OMEA Large Group AE: 9 weeks prep; 3 pieces Spring “Pops” Concert: 8 weeks prep; 3 pieces 9 pieces total x 4 years = 36 pieces

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When laid out like this, you can see exactly how many (or how few!) artistic works you have the opportunity to expose to your students in a high school situation. Expectations such as holiday and pops concerts (as well as Adjudicated Events) can also put restrictions on the types of music chosen.

PROCESS Once you have the parameters in place, you can begin to make selections. Repertoire knowledge should be a lifelong pursuit, and the process of caching your programming ideas is easiest when organized. Software such as Evernote and Dropbox are great for keeping lists of discovered pieces and concert ideas. Keep a spreadsheet with every piece your ensembles plays so you can revisit repertoire after an appropriate length of time.

Many resources for repertoire are now available both in print and online. Naturally some are better and more useful than others, and should be evaluated accordingly. See the above linked handout for a selected list. Composition awards such as the ABA/ Ostwald Award and CBDNA Young Band Composition Contest are also good places to find new music that has been through a rigorous jury process. Conference concerts from OMEA, Midwest Clinic and other state and national conferences are another way of discovering repertoire at both the intermediate and advanced levels.

Once you have lists of pieces at your disposal, what to choose? Go back to the musical elements along with the practical and educational considerations. Examine style periods, genres, instrumentation, and most importantly, music that speaks to YOU in some way. Your students will enjoy learning the music much more if you also enjoy it. Avoid formulaic compositions, too many pieces in the same keys, constant safe scoring, and superficial program music.

Remember the classics! There is a reason we still read and love Shakespeare and do not cast his works off for the latest novels written over the past year.

The same should apply to band (or any) music. Seek out major and established composers at all levels. For young band that might be Frank Erickson, Pierre La Plante, Anne McGinty, Charles Carter, and Larry Daehn. For advanced band we should not forget Holst, Persichetti, Vaughan Williams, and Grainger.

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Finally, stay connected to the arts. We must constantly strive to grow as musicians ourselves if we want to be better educators. Keep abreast of the music world outside of your area. Attend major professional orchestra concerts. Investigate other professional organizations such as CBDNA and WASBE to see what is being played and commissioned by them. The broader our knowledge of repertoire and the more attention we can give to this crucial process, the better educators we will become.

References 1 Acton Ostling, Jr, An Evaluation of Compositions for Wind Band According to SpecificCriteria of Serious Artistic Merit, Ph.D. diss., The University of Iowa, 1978, 23-30.

Thomas L. Dvorak with Cynthia Crump Taggart, and Peter Schmalz, Best Music for Young Band: a Selective Guide to the Young Band/Young Wind Ensemble Repertoire, edited by Bob Margolis (Brooklyn, NY: Manhattan Beach Music, 1986), 9.

Larry Blocher et. al., Teaching Music through Performance in Band, Volume 1, compiled and edited by Richard Miles (Chicago: GIA Publications), 8.

Brandon D. Jones is Associate Professor and Coordinator of Instrumental Music at Wittenberg University, where he conducts the Symphonic Band and Chamber Orchestra, and teaches courses in conducting, music education, music technology, and music history. Prior to his graduate studies, Dr. Jones taught band at the junior high and high school levels in the Princeton City School District, and continues to be in demand as a clinician and guest conductor for area schools and honor bands. Dr. Jones has presented clinics at the National Conference of the College Band Directors National Association, the Ohio Music Education Association State Professional Development Conference, and is a contributing author to the renowned and best-selling Teaching Music through Performance in Band series by GIA Publications, Inc.

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TEACHING TIPS CHOIR Building Identity in Your Women’s Chorus Dr. Richard Schnipke; Xavier University

In many choral programs, at both the high school and collegiate level, women’s choruses can struggle to find a sense of identity. This may be caused by a variety of factors: the premiere ensemble of the organization is the select mixed choir, the men’s chorus has a stronger tradition and following, the women’s chorus is made up of the overflow of female singers who were not selected for the mixed ensembles, etc. With this in mind, it is incredibly important that we work to help our women’s choirs build and establish a positive identity. While this article speaks specifically to Women’s Choirs, many of the concepts and ideas included are transferable to a variety of ensembles.

CHOOSE GREAT WOMEN’S CHORUS REPERTOIRE Often we spend a great deal of time selecting repertoire for our premiere mixed ensemble, and our women’s chorus (and other secondary choir) repertoire gets less of our thought and energy. We must remember that all of our choirs (and singers) deserve to sing the best quality, most engaging and rewarding literature possible. Some ideas especially important to selecting music for women’s choir are as follows: 1.) Select Music Originally Written For Women’s Chorus: While it may be tempting to choose SSA or 18

SSAA arrangements of standard, popular or favorite mixed choir pieces, better options for women’s chorus usually exist. “Re-voicings,” even when prepared by the composer, are generally lacking in comparison to the original and often times come full of problems with range, tessitura, and voice-crossing which can lead to choral issues including intonation, balance, and vocal fatigue. Original music for treble voices is available from all music time and style periods and countless contemporary composers are producing pieces written specifically with the female voice and chorus in mind.

2.) Select Music With Great Texts: In previous eras, many texts set for women’s choruses were less than challenging or thought provoking (themes of flowers, butterflies, lost love, etc.). In recent years, more and more wonderful texts including great poetry, contemporary settings of traditional sacred Latin texts, and multicultural folk texts are being set for female voices. Find texts that expose your students/singers to poets and cultures, give them historical perspective, and challenge them to think in new ways.

3.) Provide them with Musical Variety: While we (and our singers) all have preferences for certain styles of music, it is important to program a variety of musical styles within each academic year or concert season. As mentioned above, program pieces TRIAD

written for women’s chorus from the various musical style periods along with great contemporary selections, world music, folk songs and spirituals. Challenge yourself and your singers to move outside of your comfort zone and explore all the wonderful styles of music available to present-day women’s choruses.

4.) Select Music by Female Composers: Numerous contemporary female composers, including Gwyneth Walker, Ruth Watson Henderson, and Jennifer Higdon, write masterfully for the female choir.

While earlier female composers may be more difficult to find, they do exist. Francesca Caccini, Fanny Mendelssohn and others have written beautiful music representative of the earlier style periods of the western art music tradition that can be performed successfully by women’s choirs of varying skill levels. Women’s choirs performing and promoting music by women composers is a wonderful pairing that can help build group identity and provide tangible examples for the budding composers in your ensemble and audiences.

Selecting high quality, engaging, challenging and varied women’s chorus repertoire will enable your ensemble to be confident, successful, and rewarded in performance and therefore begin to develop its musical identity.

PROVIDE THE GROUP WITH GOALS, PROJECTS, AND SPECIAL PERFORMANCES While we all have regularly scheduled concerts to work toward, providing your women’s chorus with events or projects that are geared specifically toward them can really help them form an identity.

Simple things like holding a retreat, participating in an OMEA adjudicated event or attending a women’s chorus festival, to larger projects like recording a CD or planning a short trip or concert tour, can give the group a common goal to work toward.

Electing an officer team that establishes and promotes annual goals within the group is also empowering. Goals can be musical and may include concepts like improving group tone quality, diction, intonation, and memorization, or non-musical items pertaining to recruitment, retention, group camaraderie, increased concert attendance, etc. Accomplishing these goals can provide a group with a OCTOBER/NOVEMBER 2015

sense of empowerment and community, which in turn can also help to establish an identity for the ensemble.

ESTABLISH GROUP TRADITIONS It is important for each ensemble in your choral organization to establish traditions they can call their own. Whether it be a special annual concert, a traditional opening or closing musical selection, a specific process for welcoming new members to the group, or an annual event or fundraiser produced by the group, people enjoy tradition. Establishing and maintaining some tradition is not only important for the current membership of the group, but also for encouraging alumni contact and involvement. In most cases, a strong sense of tradition goes hand in hand with a strong identity.

With all of the wonderful women’s chorus repertoire and resources available to us, we have all the necessary tools to make our women’s choirs vibrant components of our public school, university and community choral programs. I hope you find some of the ideas above useful and challenge you to think about working to build the identity of your women’s chorus!

This article was originally published in the OCDA News in 2012.

Dr. Richard Schnipke is a member of the faculty at Xavier University where he serves as Director of Choral Activities and Director of Music Education. Schnipke’s duties at Xavier include conducting the Concert Choir and Men’s Chorus, teaching Choral Methods and supervising student teachers.

He holds degrees from Bowling Green State University and the Ohio State University and currently also serves as President Elect of the Ohio Choral Director’s Association.

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TEACHING TIPS GENERAL MUSIC World Percussion Music in Urban Schools Dr. Sarah H. Fischer; Twelve Corners Middle School

Many K-12 schools have music programs structured around the trilogy: band, choir, and orchestra.

These ensembles provide invaluable opportunities for learning, creativity, and the appreciation of music; however, many students are not interested in or able to participate in such performing ensembles.

In response to this, some schools are beginning to diversify their course offerings by including studies in world music. The purpose of this article is to outline the benefits of developing a World Percussion Ensemble at the secondary level and to provide practical insight into executing such a course offering.

RELEVANCY & ACCESSIBILITY Relevant to any school environment, studying world percussion is especially ideal for students in urban environments due to the increased potential for cultural relevancy and improved accessibility for students with financial hardships. Students in urban schools often come from varying backgrounds. At Columbus North International School (CNIS; grades 7-12, Columbus City Schools), where I taught instrumental and vocal music, the student body represents over forty-five different countries of origin and over twenty different home languages. With such diverse classmates and an increasing ability to access musical recordings and videos from around the world, CNIS students are naturally curious about cultures 20

and traditions other than their own. Thus, from this environment, the CNIS World Percussion Ensemble was born.

Perhaps the most notable aspect of world percussion studies is that to participate, your students need not have prior experience or financial commitment.

Such an open enrollment model is practically unheard of in other secondary instrumental ensembles, where a student will never be able to join band/ orchestra if (s)he did not sign up the first year it was offered. Students who may have missed out on the opportunity to play in an instrumental ensemble can find a home in studying world music. This is certainly true at CNIS, where many students’ families cannot afford the expenses associated with learning a band/orchestra instrument. Thus, it was heartwarming when, at our first concert this year, I overheard one of my tenth-grade students declare that performing was “really cool!” – he had never been on a stage before.

STARTING YOUR PROGRAM Although seemingly daunting, world percussion ensembles are ideal for schools and students with limited budgets. The reason for this is that, at least at the beginning, instruments can be made from almost anything. Before we performed on taikos, djembes, and congas, the students at CNIS played on buckets, TRIAD

chalkboards, and chairs. How did we do this and manage to stay authentic in our performance practices? We began by studying the group STOMP, of course! It is also important to note that many musicians around the world do not have access to the high-quality instruments that we have become accustomed to using in the United States. Starting your world percussion students out on environmental instruments can open the door to valuable discussions about privilege while also allowing them to appreciate and properly care for their “real” instruments.

The world percussion instruments at CNIS were accumulated over time and purchased almost entirely through grants. My predecessor applied for virtually every grant she could and was successful in winning many of them. I have also been able to obtain instruments through programs like DonorsChoose.org.

Now our inventory includes taikos, djembes, congas, cajóns, doumbeks, and many other instruments from all over the world. While I strive for authentic performance practices at all times, the reality is that CNIS cannot afford a complete set of genuine instruments for every culture studied. Though we may be performing Caribbean calypso music, someone will have to play on an ashiko from Western Africa. To prevent potential cultural misunderstandings, I spend

much time with my students discussing authenticity and the true origins of everything they play.

YOU CAN DO IT! Many music educators (including myself) are classically trained musicians who may not yet have formal training in world percussion; however, we must not be afraid to take on this area of music performance. The beauty of world percussion is that it is just that – music from anywhere in the world.

Your program can be customized to fit your school’s existing curriculum and the different cultural backgrounds represented in your community. Talk to your students; see where their strengths lie and start from there. You will not be an expert on everything, but a willingness to learn and a critical ear will take you far. The first year I taught world percussion, a few of the students were from Ghana and Liberia, so we began by studying some Western African performance traditions. The next year, several Hispanic students joined the group and expressed an interest in learning Afro-Cuban genres. I was not as wellversed in this area; but I found articles, textbooks, videos, and other resources helpful as I gained knowledge and experience. When I did not know something, I was honest about this with my students and then made it my priority to learn.

Students from Columbus North International School’s World Percussion Ensemble perform for the Columbus Council on World Affairs.

OCTOBER/NOVEMBER 2015

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You may also find that there are local musicians in your community able and willing to work with you and your students. Workshops are often available through OMEA and other music education networks; these have been invaluable to me as I work to stay at least two steps ahead of my students. Just a note of caution: be sure to evaluate the authenticity of your resources constantly. There are many culturally exploitive materials out there. We must strive to provide our students with the best, most accurate representations of music from around the world.

Stay as true as you can to authentic performance practices. When in doubt, ask a knowledgeable other to critique your repertoire selection, playing technique, and/or pedagogy.

The study of world music is an outstanding way to develop globally competent citizens while increasing student involvement in your school’s music department. By providing your students with engaging and relevant world music-making opportunities, you will truly nurture a lifelong appreciation for all types of music!

Dr. Sarah H. Fischer teaches music at Twelve Corners Middle School in Brighton, NY. Previously, she taught at Columbus North International School in Columbus City Schools.

Her professional interests include music teacher education, urban education, and gender issues in music. Dr. Fischer can be reached at sarah.hope.fischer@gmail.com.

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TEACHING TIPS JAZZ Teaching Improvisation In the Ensemble Rehearsal Mike Smith; The Ohio State University

When we think of improvisation, we are likely to think of method books that teach reading chord changes, or perhaps lessons with a master jazz improviser, but we don’t usually think of teaching improv in the context of our rehearsals. Many music educators balk at teaching improvisation, and the thought of teaching something so specialized can seem daunting. But there are many ways to approach improvisation that can demystify the art of soloing for musicians of all ages. And the key element for all developing improvisers is something that should be at the heart of all music studies–the art of listening.

Developing the ear can be an effective part of the rehearsal routine, and it can be enjoyable for all involved.

It is important to note that jazz as an academic pursuit is a relatively new concept. Although many jazz musicians from the bebop era forward began formally studying harmony and theory, jazz was, for the most part, an art form that was passed down through listening. Improvisation was learned by listening to great players on the bandstand and, after 1917, on recordings and on radio. Consider the early jazz trumpet master Red Allen. One of the first trumpet players to emulate Louis Armstrong’s style, Allen, despite being just four years younger than Armstrong, and growing up in the same city as his hero, was influenced by Armstrong’s recordings.

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“Louis wasn’t an influence to us until he started making records…We got Louis from records, like all the other jazz musicians in the country, I suppose.” (from Capturing Sound, by Mark Katz; U. of California Press, 2007) To be certain, the idea of a methodical, curriculum-based approach to improvisation, while thorough and somewhat standard today, is a relatively new paradigm.

One of the reasons that our students may not be comfortable with improvisation is because moments of musical creation and improvisation are not structured into our rehearsals. Another reason for the improv mystery is that many of our students don’t have an intimate musical relationship with their instrument, and many never think to just play a tune that they might hear outside of band or orchestra.

Many of our students are proficient sight readers, but can’t, if asked, play “Happy Birthday” for a family member without looking at the music.

There are many ways to address spontaneous performance and allow for improvisation in our rehearsals, and perhaps the easiest is to encourage and develop playing through listening without the aid of a piece of music. We can guide our young musicians to listen to great players and to emulate the specifics of great improvising–scales and modes appropriate for different tunes; variations on melodic patterns and sequential patterns that can be incorpoTRIAD

rated into songs; quotes and snippets of existing melodies that can be easily accessed; and entire solos that can be easily transcribed for inspiration.

This can be accomplished in a very non-threatening rehearsal setting that can include all levels of competency.

To prepare students to feel comfortable playing what they hear, and to teach them to develop that intimate musical relationship with their instruments alluded to earlier, try to incorporate some of these skills into your daily warm-up: • Have the musicians play sequential patterns with each of the scales that they play, without music.

Start with simple patterns–thirds (1-3, 2-4, 3-5, 4-6, etc.), four-note patterns (1-2-3-4, 2-3-4-5, 3-4-5-6, etc.), then expand to more adventurous patterns (triplet 8-7-6, 7-6-5, 6-5-4, 5-4-3, etc.). These patterns can be applied to all types of scales and modes.

This can be accomplished with a warm-up sheet, but it is more effective to the concept of improv through listening if students can begin to do this by using their ear.

• Incorporate songs into the scale warm-up. If the warm-up scale is Bb, have the students play America (My Country ’Tis of Thee) in the key of Bb. Instruct the players that the song begins on the first scale degree regardless of key, have them sing it and note that the melody follows, for the most part, a smooth step-wise progression. Change the scale to Eb and ask the students to play the song in the new key. As they become more adapt that this, incorporate more songs (Happy Birthday, The Star Spangled Banner, etc.) that push them to utilize those skills further.

• Incorporate some easy riff tunes into this routine. The most obvious is Ellington’s C Jam Blues, but there are many that can be utilized–Blues and Boogie (Miles Davis); Lester Leaps In (Lester Young); Seven Come Eleven (Charlie Christian/ Benny Goodman); The Theme (Miles Davis). This allows the students to not only develop the ability to learn melodies, it also allows for the introduction of form (“C Jam Blues” and “Blues and Boogie” follow 12-bar blues form; “Lester Leaps In” and “The Theme” utilize Rhythm Changes; and “Seven Come Eleven” is a 32-bar AABA variant).

• Incorporate a rhythmic call-and-response OCTOBER/NOVEMBER 2015

drill into the warm-up. Pick a player within the band (or do it yourself) who will lead in playing some simple rhythmic patterns that the rest of the ensemble will play back.

• Make it enjoyable and stress-free. If there are those who are hesitant at first, allow them time to feel comfortable. As it becomes a regular part of the rehearsal routine, most students will come to enjoy the process and be comfortable with their individual solo voice.

I want to make it clear that I am not suggesting that there is anything at all wrong with utilizing improvisation method books, individual private lessons with great jazz players/educators, or any of the standard approaches that have proven to be effective for so many. What I am advocating is an approach that allows our music students to take the skills that they are already developing in rehearsals and to utilize them to the goal of becoming improvisers. In later editions, I would like to continue to discuss guided listening by going into detail regarding incorporating specific solos and melodic quotes that will allow students to further expand their improvisation vocabulary.

Mike Smith directs the jazz lab ensemble and the jazz fusion combo at The Ohio State University, where he also teaches jazz pedagogy and jazz styles and analysis. Mike is also the the assistant director of marching and athletic bands at OSU.

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TEACHING TIPS MULTICULTURAL Multicultural Music 101: Effective and Inclusive Teaching Dr. Linda B. Walker; Kent State University

It was an easy decision for me to accept the appointment from our new editor, Marc Parulekar, as chair of multicultural music for Triad. Since the inception of this column, we have been enlightened with professional and research-based articles about teaching and learning multicultural music. I’d like to take this opportunity to thank Kay Edwards, Donna Cox, David Tovey, and all of the past editors who served admirably in this capacity. Their guidance inspired interested music educators to organize their thoughts about the ever-increasing importance of multicultural music education and culturally responsive practice in today’s classrooms. We are also grateful to those contributors who shared their expertise about teaching students from diverse backgrounds, and introduced tips on how multicultural music fits into the curriculum.

Most often, when the term multicultural music is mentioned, teachers immediately think of elementary general music. However, this column will focus on teaching for elementary general and choral music as well as elementary and secondary instrumental music. So, “get ready” to read some ideas that you may not have previously heard. Similar to sessions at Ohio Music Educators Association (OMEA) conferences, each article in this column will specify the intended audience. As such, this introductory column is appropriate for music teachers in elementary music classrooms, middle and high schools, and col26

leges & universities who are responsible for educating students in general music, choir, band, or orchestra.

To understand multicultural music education, we should first briefly reexamine multicultural education. Banks (1999) discussed four cardinal approaches to multicultural education. First, the contributions approach involves selecting materials focused on the contributions of different cultures.

For example, a music teacher might celebrate Black History Month in February by singing songs about the legendary Civil Rights activist Dr. Martin Luther King, performing a symphonic work by William Grant Still, developing a listening lesson on the music of Egyptian-born, local composer Halim El-Dabh, or teaching an ensemble vocal improvisation (jazz, gospel, R&B styles). Secondly, the additive approach involves selecting content, concepts, themes and perspectives that add to the curriculum but do not change its structure and originality, e.g., inviting a Hispanic American music educator to share his/her perspective or interpretation on the symphonic arrangement of a Latin piece.

The transformative approach involves critical thinking and is designed to change the structure of the curriculum. It is here that students are encouraged to view concepts, issues, themes and problems from different ethnic or cultural perspectives and points of view. For example, Campbell & Scott-KassTRIAD

ner (2010) posed a critical thinking question for pre-service teachers to consider how they might teach a unit on African American gospel music: a) to African American children, b) to non African American children, c) if they were African American and d) if they were not African American.

Finally, the social action approach combines the transformation approach with social change activities. As an example, freshmen students at the University of Pennsylvania are required to volunteer—for an entire academic year—several hours per week in one of two West Philadelphia music classrooms.

These students attend concerts of various genres and engage in dinner discussions to process their experiences with professionals who specialize in music, social class, race and economic mobility. These diverse approaches to teaching and learning serve to enhance all classrooms and ultimately prepare each of our students to function at their best in society.

I’ve yet to meet a music teacher who is not eager to be effective and produce students who are successful. When teachers think about diversity as an intricate part of pedagogy and curriculum, they are apt to develop safe and culturally responsive classrooms whereby the methods of instruction and assessment, the curriculum, and the climate work in tandem to help students achieve (Darling-Hammond & Bransford, 2005).

It is an impossible dream for any teacher to know the music of every culture. Perhaps immersion in a familiar or preferred genre is a way to begin the journey of teaching and learning another culture(s), as I have demonstrated in this brief piece. While you may not have access to a university Gospel Choir or Mariachi Band, classes and other resources are available through NAfME, your local library or the college/university within miles of where you live.

When searching for resources, keep in mind your students’ parents or grandparents who are usually delighted at a chance to share skills or knowledge from their cultural heritage. Whatever style or genre you decide to teach, it is important to be authentic.

In conclusion, teaching from a multicultural perspective will help us: (a) prepare Generation Z with broad-mindedness, civility and respect for ‘the other’, necessary for innocuous and functional communities, and (b) give them confidence and courage to venture outside Ohio and contribute to the larger global community. Given the rapidly changing racial OCTOBER/NOVEMBER 2015

and ethnic demographics in this region of the country, I hope all music educators—pre-service, in-service, beginning and veteran—will engage in the most effective instructional techniques to teach students from various backgrounds using a multicultural perspective.

Please let me know if you have specific concerns, want to see particular sessions at OMEA conferences, would like to share teaching tips, or just have questions about teaching multicultural music (lwalker@kent.edu).

References Banks, J.A. (1999). An Introduction to Multicultural Education (2nd ed.). Boston: Allyn and Bacon.

Campbell, P. S. & Scott-Kassner, C. (2010). Music in childhood: From preschool through the elementary grades.

Boston, MA: Schirmer.

Darling-Hammond, L. & Bransford, J. (Eds.) (2005).

Preparing teachers for a changing world: What teachers should learn and be able to do. San Francisco, CA: JosseyBass.

Linda B. Walker is professor of music at Kent State University where she teaches undergraduate and graduate music education classes, directs the KSU Gospel Choir and formerly served 10 years as coordinator of music education.

She specializes in teaching general music at the elementary and secondary levels. With focus on diversity, equity, and inclusion in music education, her work is published in Triad, JRME, Bulletin of the Council for Research in Music Education, MEJ, Contributions to Music Education, General Music Today, and Quarterly Journal of Music Teaching and Learning. She has coauthored and contributed to several books, including Multicultural Perspectives in Music Education (2nd & 3rd editions). Walker is recipient of numerous faculty teaching, research and creative activity awards, including the unique Distinguished Woman of Kent State University. Dr. Walker received bachelors and masters degrees in music education from Jackson State University, and earned the Ph.D. in music education and music therapy at the University of Kansas.

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TEACHING TIPS ORCHESTRA New Ideas and Old Reminders for the School Orchestra Douglas Droste; Ball State University

As teachers prepare for the new school year, it is important to reflect upon current ideologies and strategies and to search for methods for improvement. Borrowing new ideas from string colleagues is a common practice within our profession and one that speaks to the overall collegiality of string teachers. Researching new ideas can inevitably lead to remembering older concepts that may have been forgotten or abandoned due to program transformation.

ALWAYS BE PREPARED FOR REHEARSAL Have general and specific ideas of what to accomplish at each rehearsal and how to go about achieving them. A written lesson plan complete with goals and objectives is often helpful for a young teacher, but even written notes or post-it reminders can be effective for all. Make sure the score has been studied and learned. Directors can focus on many things, including fundamentals and student behavior, if their head is not buried in the score. Try to maintain a professional attitude in rehearsal, which keeps efficiency at the focus. It is also essential that students learn the historical context, musical form, compositional devices, and other important information about each piece being performed.

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WORK ON FUNDAMENTALS IN EVERY REHEARSAL Reviewing basic fundamentals of string playing in every rehearsal is critical for a student orchestra.

Scales, arpeggios, shifting exercises, bowing and rhythm exercises, vibrato exercises, and both technical and lyrical etudes are important in the overall development of the ensemble. Although all fundamentals are good, focus on one or two each day.

Pick a difficult spot in your repertoire and create an exercise to facilitate the problem. During warm-up, emphasize listening, concentration and have students sing to reproduce the sound they want to create (see below). Making this part of your daily rehearsal will allow students to expect the routine and understand how vital these exercises are in their development.

Modeling correct technique on a string instrument is also very important. If the director’s primary instrument is not a string instrument, use advanced students to demonstrate. Make sure all techniques can be properly described and taught. Constantly evaluate during rehearsals and develop a “bag of tricks” to deal with: 1) Style and Phrasing. Use singing as a way to engage students to think about style and phrasing.

Use descriptive words to identify the sound desired.

(Food references often work: “short, like crunchy potato chips” or “smooth, like a creamy pasta TRIAD

sauce”). Play recordings during rehearsal and have someone demonstrate on an instrument. There are often many “unwritten rules” in phrasing, (the rise and fall of a line, notes with extra emphasis, etc.) and students need to be aurally educated before they are expected to play expressively. It is important that the principal players are always checking in with one another so that they are all in agreement on style. The correct sound can then be modeled to their respective sections, and if sections are appropriately attuned to their principal, true ensemble playing can occur.

2) Rhythm and Tempo. If students are having problems with a difficult rhythm, write it on the board and have students slowly sing, pluck or bow it on one pitch while tapping their foot. (One can also use clapping and “air bowing.”) Try not to give away the answer by singing the rhythm for them.

Give them time to figure it out so they can learn to conquer harder rhythms on their own. This can easily be incorporated into the daily fundamental routine. Also, make sure students are playing in the best

OCTOBER/NOVEMBER 2015

part of the bow for the particular passage.

If rests are part of the problem, have students grunt or say a fun word during the rests in order for them to recognize and feel the duration of the rest.

Always try to encourage students to listen and use each other to help with tempo. For example, locking into a steady ostinato part in the cellos or basses could help everyone stay together. To further student listening, stop conducting during certain passages to encourage ensemble cohesiveness.

3) Balance and Blend. Even though conducting gestures should make this obvious, constantly quiz students on what voice is the most important at any particular time. The terms melody and harmony should already be part of their vocabulary. Talk about the importance of being part of a team. Using sports analogies can help- not everyone gets to have the ball all of the time! Mixing seating (within sections, as well as with different instruments) for an occasional rehearsal will help stress the importance of blending within the whole orchestra and listening beyond their stand. Constantly encourage a good sound and tone,

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and make sure students are using the right mixture of the three keys to producing a sound on a string instrument- bow weight, bow placement and bow speed.

When addressing balance through chords and key changes, try to introduce new theory terms into their vocabulary, i.e. modulation, relative major/minor, etc.

4) Technical concerns. Isolate the problem passage. Many times, slow practice will solve the issue.

If not, simplify or change the passage. Then have students play a bowed passage with pizzicato, or play a pizzicato passage with the bow. Teachers also can change the rhythm and articulation- “swing” straight passages, “reverse” swing, slur two, bow two, etc., anything to change the passage so the original will seem easier. Then slowly work the passage back into tempo. If rests are part of the problem, the “grunting exercise” can work here as well.

INTONATION: HOLD STUDENTS ACCOUNTABLE Consistently playing in tune is the greatest challenge for student string players. Assuming that hand and instrument positions are correct, directors, parents and students must be patient with this development. Developing good intonation is long process and there is no quick or easy solution.

A common phrase is: “If a student can’t hear it, they can’t play it!” Have students sing as often as possible while in orchestra class. Simple exercises in matching pitch or singing simple lines within the music, and then playing them, will be of great benefit. Eventually, muscle memory and ear training will coincide to produce better intonation.

Be sure students always tune to a reliable pitch source and encourage them to work on beat elimination with a tuner outside of rehearsal. Recording rehearsals and playing them back for students can serve as a valuable teaching tool in their development. When addressing ensemble intonation, constantly stress the concept of matching pitch within the section and across the orchestra. Basic concepts of just intonation can be introduced at an early level, especially when tuning a major chord: start with the root, then the fifth, and then the lowered third..

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CONSISTENTLY ADDRESS HAND AND INSTRUMENT POSITIONS Directors must be adept to visually discerning improper hand and instrument positions during rehearsal and providing an efficient strategy for correction and reinforcement. Unfamiliarity with certain instrument specifics should be reviewed and mastered. The most common bad habits are the collapsing of the left palm onto the neck, and a “clublike” or tense right hand bow hold.

BOW ALL PARTS BEFORE THE FIRST REHEARSAL Having good bowings in the parts can potentially alleviate many challenges for students. Issues with rhythm, style and uniformity of sound could be minimized with a prepared bowing, especially during sight-reading. Keeping students in the same part of the bow will help clarity on articulated passages, and harder rhythmic passages can be made easier by a more friendly bowing. Have student leaders help, and create an atmosphere where they know bowings must be prepared.

In summary, new ideas and old reminders can be invaluable when building and nurturing a string program. The sharing of information and experiences from colleagues is an important part of our profession and ultimately benefits our students as they learn and grow as people and musicians.

Conductor Douglas Droste is Director of Orchestras at Ball State University and Artistic Director of the Muncie Symphony Orchestra. A dedicated advocate of music education, Droste regularly conducts youth orchestras, presents in-service conference sessions, and is active as a clinician and adjudicator for school orchestras and festivals throughout the country. He is a Yamaha Artist as a conductor. Droste’s recent guest conducting appearances include the INSO-Lviv Symphony Orchestra (Ukraine), the orchestras of Columbus, Oklahoma City, Tulsa, Midland-Odessa, Fox Valley (IL), and the all-state orchestras of Missouri and Louisiana. A talented violinist, Droste has performed with the orchestras of Oklahoma City, Tulsa, Nashville, Memphis, Lubbock, and the Lancaster Festival. Droste is also skilled on viola and trumpet, and has sung with a variety of choral ensembles. Droste holds degrees from The Ohio State University and Texas Tech University.

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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

MUSIC MASTERCLASS -

BRASS Horn Improvement 101: Five Check-Ups to Assist Your Horn Players Dr. David M. Hedgecoth; The Ohio State University

The following tips have proven to be valuable during my time in the public school classroom and in collegiate methods courses. They are presented here not as long term tasks, but rather quick, efficient ways to assess your horn section, in addition to diagnosing and correcting playing issues.

INSTRUMENT CARRIAGE Students that enter high school have typically passed their mid-adolescent growth spurt. While a student may be aware of the physical changes to their bodies, this awareness does not always transfer to changes in how a student should carry and support their equipment/instrument. The left arm and hand should remain relaxed with a natural “C� shape. The end digits of the fingers and thumb should rest on the keys. Fingers should not be flat, as this will impede faster, technical passages.

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Many young players must make adjustments to the right hand position in order to balance the instrument. As students grow through middle and high school, attention to right hand placement is essential.

The backside of the fingers should rest against the far side of the bell flare, away from the body.

Directly related to the amount of instrument weight the right support, is whether or not a student plays

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S

OHIO UNIVERSITY chool of music

2016 Audition Dates Jan. 23, Feb. 13, Feb. 15, Feb. 20, 2016 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 12, 2015

Honor Band Festival December 3-5, 2015 Honor Choir and Orchestra January 15-17, 2016 Jazz Festival April 15-17, 2016 Ohio Summer Music Camp June 12-18, 2016

www.ohio.edu/finearts/music

740.593.4244 105161 • 8-15

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

“on” or “off” the right leg. Young players must almost always support the bell with the right thigh in order to obtain correct placement of the mouthpiece.

As a student’s torso lengthens continued placement of the bell on the leg can result in a hunched looked while playing. This will cause strain and tension in the body – often unnoticed by the player. Raising the bell off the leg will provide space for more efficient breathing and reduced tension. Students often resist off leg playing initially, but once the benefits of relaxation and better flexibility are explained – and felt – most prefer off-leg horn carriage.

SLIDES The horn is built out of tune. If all slides are pushed in, the pitch will be sharp regardless of one’s attempt at correct hand position. I recommend pulling valve slides about 3/8” and tuning slide ½’ to 3/4”. Technology has made it much easier to determine the exact procedure for tuning a given make/ model of horn. Spot-checking slide lengths and confirming slides are in the correct valve casing will aid in better consistent of pitch.

EMBOUCHURE/ PHYSICAL SET UP It is widely understood that the horn mouthpiece should be placed two-thirds, one-third on the upper and lower lips respectively. Instrumentalists that switch from other instruments, those that play mellophone, and students with orthodontia often will make adjustments in the placement of the mouthpiece to make playing “easier.” While such shortcuts may allow a student to achieve short-tem success by getting notes to speak, tone quality, endurance, and overall facility can be severely compromised. While the two-thirds/one-third functions well as a general rule, it is also advantageous to observe a student buzzing to take note of the quality of sound produced while a student buzzes on the mouthpiece. All bodies are unique, so if a student’s embouchure varies from the “perfect” images found in method books, this is not necessarily problematic.

However, it should be cause for concern if the buzz (and later tone) produced are compromised due to an inefficient set-up.

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VALVES If a student is using a school-owned instrument in class, it is probable that multiple musicians use the horn each day. Various factors, including lack of oral hygiene, failure to oil valves regularly, and not emptying the horn after each use can cause the rotor valves to become sluggish. Technical passages and slurs can be challenging to the student without their understanding why playing is becoming increasingly difficult. Checking the valves once or twice a month to keep them lubricated will aid in proper execution and prevention of bacteria accumulation. Additionally, reminding students to empty the horn after every class (I suggest watching them do so) will aid in preventing the inside of the instrument from becoming too damp.

MIND Horn players, regardless of age, should understand that our instrument requires a unique blend of finesse, audiation, patience, perseverance and more patience. Horn players will miss notes – your students are aware of this issue and most likely will not need to be reminded. Nurturing students to maintain a calm, clear mind in order to understand why the pitch was missed is essential in reflecting and recalibrating one’s attempt at playing a given passage. If the mind is tense, the body will follow, thus restricting air and flexibility of the embouchure. Taking a moment to allow your horn players to hear a passage and understand how air must be manipulated will assist in their successful execution of the music.

David Hedgecoth is an assistant professor of music education at The Ohio State University. His responsibilities include instructing the Collegiate Winds, Brass Methods, and Senior Instrumental Methods. Prior to his appointment to OSU, Dr. Hedegecoth taught at the University of Oregon in Eugene, Oregon. He holds degrees in music education from The Florida State University and a PhD in music education from The Ohio State University.

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Explore Music at Mount Union

Bachelor of Arts and Bachelor of Music 2016 Audition Dates | February 6, 15 and 20

(800) 992-6682

|

mountunion.edu/music

Music at Otterbein Building your future...one note at a time

Utilizing the cultural resources of a vibrant metropolitan area, the Department of Music and its varied ensembles produce musical excellence within a liberal arts context. Music majors and non-majors work with faculty in a creative and collaborative atmosphere. Otterbein provides a curriculum which meets the individual needs of the performer and prepares students for the career path of their choice.

Upcoming Audition Dates Saturday, Jan. 23, 2016 Saturday, Feb. 13, 2016 Tuesday, Feb. 23, 2016 Saturday, March 19, 2016

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, Concentrations in Audio Production, Arts Administration and Music Management • 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 2015

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MUSIC MASTERCLASS -

WOODWINDS Practical Advice for Starting Clarinet Students

Gail Lehto Zugger; Capital University

Focusing on tone, technique and tonguing with your beginning clarinet students will equip them with the skills they need to enjoy playing clarinet for many years to come Below are some tips that will provide a solid foundation for your beginning clarinet players.

TONE Influence your students to use ample air support, giving examples such as blowing out birthday candles, blowing a piece of paper to the wall or blowing bubbles through a straw in milk. There are three basic components of the embouchure: top teeth resting on top of the mouthpiece, bottom lip folded over bottom teeth to support the reed and corners of lips equally firm around the mouthpiece, as in a drawstring bag. The second component is the most confusing. The lower lip is best placed where a business card stops when inserted carefully between the reed and mouthpiece. Deter a bunched chin; encourage instead a pointed chin and firmness along the lower jaw. Advise students to exert a downward pressure from their upper lip to automatically drop the student’s jaw and point the chin. Have the student envision applying chapstick to their lower lip with their index finger. Watch that the embouchure is stagnant, not “micromanaging” or chomping one note to the next. Finger the clarinet for the student while they 36

blow a steady air stream to show that notes can change without manipulating the embouchure. Poofy cheeks should also be discouraged.

The tongue can enhance the tone by intensifying the air stream as a thumb intensifies the water when placed over the edge of a garden hose. The tongue should be in a high position in the mouth, as in saying “E” as in Eeyore. When combined with forming the embouchure, it is like saying a very dramatic, drawn out “Ew” as in something smells unpleasant: say “EE” with the tongue and “OO” with the corners of the lips as in “Oops”.

Encourage playing with just the barrel and mouthpiece. As students begin to control the wind and build embouchure strength, work for a steady tone, “like the EKG of a dead person”, that is clear and full. Have students experiment with changing the pitch by increasing and decreasing the support from the lower lip making siren sounds. Eventually, have students aim for concert F# at the top of the staff. As your student begins to ascend in range to the upper or clarion register, do register slurs and have students pair up with each other to add the register key for each other before trying it themselves for the first time. Moving the left thumb to add the register key is a tricky maneuver at first!

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Welcome new full-time faculty for 2015-2016

Music Careers Day Wednesday, October 21, 2015 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

Dr. David Blake Music History and Literature

Mrs. Lori Ciulla Mr. James Marron Music Education Classical Guitar

Congratulations to our retiring faculty:

• 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, Music Living-Learning Community, and financial aid.

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

Mr. Stephen Aron, 34 years of service Dr. Laurie Lafferty, 19 years of service Dr. Georgia Peeples, 32 years of service

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.)

44th Annual Ohio Band Directors Conference (OBDC) Saturday, December 5, 2015 University of Akron Bands OBDC Honor Band Kenston High School Symphonic Band

Edison Middle School 8th Grade Band Perry Symphonic Winds

Guest conductor and UA alumnus Lt. Gregory Fritz (BM 1995), director of the Navy Band Northeast.

World premiere of a new work by guest composer James Curnow, commissioned by Drs. Mark and Sandy Auburn, in honor of Professor Emeritus William K. Guegold.

OBDC 2015 is dedicated to the memory of Professor and Director of Bands Emeritus Robert D. Jorgensen.

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

36th annual TubaChristmas!

Saturday, December 12, 2015 EJ Thomas Hall For more information, call 330-972-8301 or e-mail concerts@uakron.edu.

Dr. Ann L. Usher, Director 330-972-7590 • music@uakron.edu www.uakron.edu/music The University of Akron is an Equal Education and Employment Institution ©2015 The University of Akron

Scholarship Auditions Friday, December 4, 2015 Saturday, February 13, 2016 Monday, February 15, 2016

TECHNIQUE Economy of motion is key to building a fluid technique. Curve fingers as if holding pop cans in both hands where fingers remain close to their respective keys and tone holes. “Stealth clarinet” is ideal, where no one can see what notes are being fingered due to minimal movement of fingers. Students must not wave at their neighbor or hail a taxicab. Great finger position is crucial for covering open tone holes fully, lest an unwelcome squeak occur. The left thumb should be angled as if pointing to two o’clock in order to roll to the register key.

The first finger of the left hand should roll to the A key, pressing it with the side of the finger so that slurs to the note A are seamless and without an audible hiccup. The thumb rest is on the right thumb between first knuckle and tip. In case of thumb discomfort, quite reasonable thumb rest cushions are available and a neck strap is an option. Pinkies should be curved, not straight like “teacup syndrome”. I recommend this default position for pinkies: the left pinky rests on the low E key, right pinky on the low F key. This will help stabilize the wobbly instrument in young hands and familiarize students with the oft-confusing pinky keys from the very start.

TONGUING Ask students to talk to their neighbor using only vowels. Not articulating makes it challenging to communicate the musical ideas just as talking without consonants. Simple mantra: “Tip of tongue on tip of reed”. The tip of the tongue acts as a valve that allows the reed to vibrate or not, touching the tip of the reed at the “D” part of the syllable “Doo”.

Do a “Simon says” exercise with the students giving these step by step directions: finger a favorite low note, put the mouthpiece in the mouth, put the tip of the tongue on the tip of the reed, take a deep breath, blow. There should be no sound if instructions are followed well and the tip of the tongue remained on the tip of the reed. It may take a few attempts to get the blissful silence. Then, have the students experience starting and stopping the sound using the tip of tongue on and off the tip of the reed while the breath is constantly applied. Discourage separate breaths for each note. A “th” sound indicates that the tongue OCTOBER/NOVEMBER 2015

is not at the tip of the reed, but instead just below the tip. A helpful teaching tool: with an old reed, color at the tip with non-toxic marker, have the student articulate and see where the mark on their tongue is.

OTHER RECOMMENDATIONS Regrettably, there isn’t space here to address other crucial elements such as posture and assembly.

As for equipment, here are some effective and economical recommendations: replace unsatisfactory stock mouthpieces included with instruments with a good beginner mouthpiece that retails around $30 such as Fobes Debut, Hite Premiere, Behn Overture or Yamaha 4C. Good beginner reeds are Mitchell Lurie 2 or LaVoz Medium Soft. Move students up in reed strength as wind control and embouchure develop. www.woodwinds.daddario.com/woodwindsStrengthComparisonChart.page?mode=1&sid=43366388-622e-41d8bc9c-1f5040766678 is a great reed strength comparison chart. Urge good reed habits, such as storing reeds in their individual cases and not on the mouthpiece between practices and having two or three usable reeds at all times. A working reed makes a happy clarinet player!

Gail Lehto Zugger is Associate Professor of Clarinet at Capital University in Columbus. Dr. Zugger also teaches during summers at the International Music Camp in North Dakota. She has presented at the Midwest Clinic and at regional and state NAfME conferences in Ohio, Illinois, Michigan, Minnesota and others. A native of Racine, she holds degrees from University of Wisconsin-Milwaukee and Ohio State University and is a member of the Newark Granville and Ashland Symphony Orchestras.

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ADJUDICATED EVENTS Adjudicated Events News & Updates

JD Latorre; Adjudicated Events Chair

NEW MEMBERS AND ROLES ON THE ADJUDICATED EVENTS COMMITTEE As with every new AE rotation we say goodbye to folks who are moving off the committee, and welcome new individuals. I would like to sincerely thank Dave Handshue, Ray Walczuk, and Michele Smith for their many years of invaluable service to OMEA on the AE Comitteee, and welcome Chris Carmean as Junior High Affairs, Katherine McIntosh as Band Affairs, and Dara Gillis as Creative Events Chair. I would also like to thank Scott Eversdyke for his outstanding leadership the last two years as AE Chair!

AE CALENDAR Last winter a meeting was held between members of AE and the Trustees to look at the AE calendar in the context of the challenges imposed by increased testing and other outside pressures that create problems for Districts and OMEA members.

There is no way to address every instance of potential conflict, but there are MANY avenues built into our calendar that provide the opportunity to reduce conflicts if members and OMEA Districts PLAN AHEAD. 1. The calendar will never begin before January 20.

That will provide: • 4 weekends for HS S&E and Conference 40

• • •

2 weekends for State Orchestra 2 weekends for HS B&C LG 5 weekends for 2 JH S&E’s, 2 JH conflict dates, and Easter • 2 weekends for State HS B&C LG • 2 weekends for JH B,C & O. The OMEA AE “season” should always conclude by the second Saturday in May. The Saturday before January 20th will be used as a HS Solo & Ensemble Conflict date.

2. Districts can only use JH conflict dates for JH events. Flexibility is already built in to HS events with the ability to change districts/regions. The conflict dates only exist because of spring breaks and Easter.

3. District presidents are asked to plan ahead and start thinking 18 months in advance and have their District plans (sites and any plans to use conflict dates) in place by the winter meeting the year prior.

4. Remember that JH Large group can combine with HS District Large Group, choose a conflict weekend, or stay where it is located. JH directors/groups also have the ability to participate out of District.

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5. Out of District/Region Deadlines • 1/1/15 - High School Orchestras change of region • 1/1/15 - High School Bands and Choirs change of district.

• 3/1/15 - Middle School/Junior High change of district Change of Region for High School bands and choirs is due the Monday immediately following their district performance SOLO AND ENSEMBLE ROLLING REVISION We will have updated lists for Brass, Percussion, and String solos in 2016. Please remember to download the new lists from the website and print them out.

LARGE GROUP REQUIRE LISTS In 2014, the AE Committee 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 for the 2016 Large Group season.

THE NEW! ADJUDICATOR EVALUATION SYSTEM After a VERY successful “beta test” last spring, the new AES will be utilized for all AE Events during the 2015.16 school year, beginning with OMEA Marching Band events this fall. Directors can go to the member portal and click on the Adjudicator Evaluation tab and the adjudicators will be listed from your adjudicated event. You can click on each adjudicator to provide the feedback.

The system incorporates a Likert scale from 1-5.

However, unlike the rating system for AE, an evaluation of a 5 should be use for the best adjudication.

A 5 should be used for distinguished adjudicating in each category. A 4 is for a skilled (above average) adjudication; a 3 is a skilled (average) adjudication; a 2 is a skilled (below average) adjudication; and a 1 is for an ineffective adjudication. There will be a comment box at the end for additional information.

OCTOBER/NOVEMBER 2015

As always, a rating of a 1 should be followed by comments and sending the Director of Adjudication a copy of the rating sheet, recordings, etc.

We believe this represents a revolutionary change in director feedback on adjudicators and encourage every participating director to take the time to make use of the new system.

GUITAR AT S&E After two years of “trials” at selected S&E sites, Guitar solo participation will go state wide in 2016.

We are in need of more Guitar Adjudicators; if you are interested please contact Gayley Hautzenroeder.

REGISTERING FOR ADJUDICATED EVENTS A very important reminder that all registration deadlines are strictly enforced. Late registrations cannot be accepted for any OMEA Adjudicated Event. Please plan to register well before the deadline! It is the responsibility of the director to know and comply with all deadlines and rules for adjudicated events.

Please understand that when you register for adjudicated events, you are agreeing to pay the registration fee. Once the deadline for registration has passed, you will be responsible for paying the fees even if you decide not to participate in the event. If a teacher cancels after the deadline and does not pay, that teacher may be prohibited from registering for future adjudicated events until that bill has been paid. This will affect the individual teacher, not the school.

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The Edward E. MacTaggart Department of Music Bachelor of Music Music Education Vocal Performance

Bachelor of arts Music

2016 Audition for Admission/Scholarship Days January 16, 2016 February 20, 2016 February 27, 2016 (Instrumental Only) March 5, 2016

Please join us for our Fine Arts Open House Sunday, November 8, 2015 • To Register Call: 800.331.7896 A MUSICIAN, AN EDUCATOR, A LEADER

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music.marietta.edu

740.376.4696

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music@marietta.edu

ADJUDICATED EVENTS Vocal Affairs

Jeanne Wohlgamuth; OMEA Vocal Affairs Chair

Welcome back to a new academic year!! As you begin planning your year be sure to make Solo and Ensemble, Large Group and Creative Adjudicated Events a part of your year-long plan. OMEA continues to be dedicated to providing quality opportunities for soloists and ensembles to perform for a qualified panel of judges and receive meaningful feedback to help maximize learning for both directors and students. In today’s educational environment, directors can benefit from the feedback as a means to promote high standards and accountability in order to improve student learning outcomes. For singers the feeling of pride garnered from being part of a team that has achieved success is equally as beneficial. This feeling of pride can be unconsciously transferred from year to year.

Participating in an adjudicated event also helps the director, the ensemble, and the individual singer to set goals and meet deadlines, all which help the performers to focus on the grind of day-to-day rehearsals.

To be adequately prepared for contest, please make sure to review the rules and regulations of the adjudicated event. Do not assume anything! Rules change annually, so it always a good idea to re-read them each year to ensure you understand all of the procedures and expectations. By taking a few extra minutes to review the rules and ask questions of your OCTOBER/NOVEMBER 2015

adjudicated events committee, you can avoid uncomfortable situations that could arise when mistakes are made. It is also a good idea to review the rubrics that are used by both performance and sight-reading adjudicators. This will guide you in preparing your ensembles. The rulebook and rubrics can be found on the OMEA member portal under Large Group REQUIRED LIST The Adjudicated Events Committee continues to follow the structure implemented last year. Each class will be provided a total of eighteen compositions from which to choose your district and state required selections. This list includes twelve required selections that will rotate on and off the list and six selections that are considered “standard” and will remain on the list.

SIGHT-READING Please review and/or become familiar with the rules and procedures for all adjudicated events. The Rules and Regulations for OMEA Adjudicated Events can be found at (http://50.97.66.121/PDF/Forms/ OMEA_Rulebook.pdf). Exceptions to the rules cannot be requested or granted. New teachers may also consult the recently updated A New Teacher’s Guide to OMEA Adjudicated Events (http://portal.omeaohio.org/AEV__UI.a5w).

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Take time to review the rubrics that are used by the performance, sight-reading, and creative events adjudicators. These will guide you in preparing your ensembles and/or compositions.

Adjudication rubrics can be found on the OMEA members portal under Adjudicated Events.

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 these parameters. Becoming familiar with these guidelines and structuring consistent/sequential instruction around them will guarantee a successful experience for your students in the sight-reading room.

Those interested in purchasing music for sight-reading practice should visit CM Shearer’s website (www.cmspublications.com) where you will find past district and state sight-reading compositions for sale. These resources provide a great way to prepare your singers for Large Group AE Sight-reading.

If you have any questions or concerns regarding any aspect of the Sight-reading process or compositions feel free to contact the vocal affairs chair.

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BRAILLE/ENLARGED SCORES Teachers may request a Braille copy of 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 which 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.

Please note that because state large group events are run by the region and not district, there must be separate request made immediately following qualification for the state event. Requests for enlarged copies must be made according to the same guidelines and deadlines as the request for Braille copies.

Music is a co-curricular class and is part of our state curriculum. As music educators, I encourage you to utilize the opportunities for evaluation provide by the Ohio Music Education Association for your band, choir, and orchestra programs. It is a “snapshot” of your performing ensembles and how you are doing in relation to your curriculum. Validate and lend credibility to your programs and the wonderful work you are doing with your performing ensembles and/or theory classes by participating in these very worthwhile adjudicated events.

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

Wright State School of Music Audition Dates for Admission in Fall of 2016: • Admission and Scholarship Consideration • Saturday, February 13, 2016 • Saturday, March 12, 2016 • Admission Only • Saturday, April 16, 2016 Graduate Assistantships and Scholarships are available for Fall 2016 Questions? Contact us… music@wright.edu or (937)775-2346

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

Graduate Degrees • Music Education • Performance • Conducting • Humanities

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

TRADITION

INNOVATION

BALDWIN WALLACE UNIVERSITY

CONSERVATORY OF MUSIC n Bach/Beatles n Opera/Broadway n Performance/Arts Management n Education/Therapy n Professional/Fun n Rigor/Support n Specialized/Collaborative n Dream/Succeed Join the unique synergy of this ever-evolving Conservatory community.

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.

Audition Dates for Fall 2016

November 21 February 13-14 February 20-21 February 27-28

music@bw.edu 440-826-2368 866-BW-MUSIC www.bw.edu/conservatory Find us:

HIGHER EDUCATION NEWS ASHLAND UNIVERSITY Dr. Thomas Reed, Chair and Professor of Music, released a new CD with his group Iron Toys including fellow members Howie Smith, Rich Shanklin, and George Shernit. Iron Toys is a saxophone/woodwind quartet that plays a range of jazz and contemporary classical music. The CD is available from CDbaby. com and iTunes. Dr. Reed has also recently performed with the Cleveland Orchestra, the Akron Symphony, the Cleveland Jazz Orchestra, and the Ashland Symphony Orchestra.

Dr. Marla Butke, Associate Professor of Music, recently taught Dalcroze Eurhythmics workshops in Hawaii, Nevada, Ohio, and Texas. In November she will be presenting two workshops at the American Orff Schulwerk Association National Conference in California. Dr. Butke is currently on sabbatical writing a Dalcroze Eurhythmics curriculum book with co-author Dr. David Frego.

BALDWIN WALLACE Adam Sheldon, BW ‘11, has taken the helm as Director of the Community Music School and Outreach Programs at Baldwin Wallace University. Over 960 participants took part in summer camps for grades 4-9, the Conservatory Summer Intensive and Music Theatre Overtures for high school students, and the Summer Institute for Teaching and Learning for current and future teachers. Young artists from all over the world performed during the highly successful Young Artists Cleveland International Piano Competition, which took place at the BW Conservatory in May. Baldwin Wallace University earns the coveted All-Steinway school designation! Due to the extraordinary generosity of alumni, faculty, staff, and many others who support the BW community, 88 new pianos have been purchased since the launch of the Steinway campaign in January 2014. The final four Steinway B grands were hand-selected by Piano Pro47

fessors Dobrea-Grindahl and Mayerovitch in New York City this September. Prospective students are encouraged to register for the Keyboard Encounter on February 14, 2016, to experience the difference that a Steinway can make.

Kyle Jean-Baptiste made Broadway history twice as he stepped on stage this past summer as Jean Valjean in the beloved Broadway musical “Les Misérables.” The 21-year-old tenor, who just graduated from BW’s celebrated music theatre program in May, became both the youngest and first African American actor to play Victor Hugo’s hero on Broadway, according to the theatre industry’s Playbill.com.

The Conservatory of Music at Baldwin Wallace University welcomes these new faculty for the 20152016 academic year. Jonathan Field, Opera; Danielle Kuntz, music history; Megan Poletti, music theory/ technology; Tom Kronholtz, Keyboard; Andrew Machamer, Music Theory; Jessica Narum, Music Theory; and Lembi Veskimets, Viola and member of The Cleveland Orchestra. Former Outreach Director, Bryan Bowser, becomes Assistant Professor for BW’s

new Arts Management and Entrepreneurship major.

Doug DeGirolamo will assist as the new Learning in Higher Education intern.

BLUFFTON UNIVERSITY Dr. Lucia Unrau, professor of music, is going on tour this fall.

As part of a semester-long sabbatical, the pianist will present several concerts with clarinetist Sandra Jackson from Eastern Michigan University. Their tour will begin Oct. 25 at Bluffton, followed by performances Oct. 26at Malone University and Oct. 28 at Eastern Michigan, where Jackson is an assistant professor of clarinet. A stop is also planned at Butler University in Indianapolis, on a date to be determined.

“We met at Interlochen many years ago and have played together here,” says Unrau, summer keyboard coordinator at Interlochen, “but we want to take it ‘on the road.”

The duo also performed together in August 2014 at the International ClarinetFest! in Baton Rouge, Louisiana. Among the pieces they performed were

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“Whispers and Evocations,” a commissioned work by Dr. Peter Terry, chair of music and an associate professor of information technology and music at Bluffton, and Unrau’s husband. They will also present it on tour, along with works by Brahms and Mendelssohn.

A solo recital at Goshen (Ind.) College on Nov. 1 is part of Unrau’s sabbatical as well. She has other solo recitals planned next March at Georgia College, in Milledgeville, and at Young Harris (Ga.) College.

Unrau’s work with arts advocacy continues this fall with visits to educational outreach programs to underserved youth in Kalamazoo, Michigan, and New York City. She hopes to gather information at Kalamazoo Kids in Tune and the Harlem Children’s Zone— part of Jazz at Lincoln Center—that may be helpful in starting an outreach program with the Findlay (Ohio) Arts Partnership.

Dr. Unrau also received a Karl B. Schultz Faculty Scholarship Grant from Bluffton in 2013 for her project, “Social Justice as Viewed through the Lens of Arts Advocacy.”

CLEVELAND STATE The Cleveland State University Department of Music is very pleased to announce the appointment of Dr. Barry Hartz as Visiting Assistant Lecturer in Music Education. Dr. Hartz, who completed a Ph.D. in Music Education at Case Western Reserve University in August 2015, will teach a variety of music education methods courses, including brass, woodwind, and percussion methods, Instrumental Methods, and Technology for Music Education, along with supervising student teachers. He has been teaching several of these courses for the past two academic years.

Prior to teaching at Cleveland State University, Dr. Hartz taught middle school and high school band in South Euclid-Lyndhurst City Schools and Carrollton Exempted Village School District. Dr. Hartz was the recipient of the 2012-2013 OMEA Outstanding Music Educator Award. In addition to standing-roomonly presentations at recent NAfME and OMEA Professional Development Conferences and wellreceived research presentations at the Instrumental Music Teacher Educators (IMTE) Colloquium, Dr.

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Hartz’s work has been published in Contributions to Music Education and the Music Educator’s Journal.

During Dr. Hartz’s extensive public school teaching career, his ensembles consistently earned superior ratings at OMEA adjudicated events and the bands from Memorial Junior High School in South EuclidLyndhurst were twice selected to perform at OMEA conferences. He is a National Board Certified Teacher and is certified in Music Learning Theory. Dr. Hartz resides in South Euclid, Ohio, with his wife, Jennifer, and their daughter, Zoe. UNIVERSITY OF DAYTON Dr. Robert Jones directed the University of Dayton Chorale in a performance at the 2015 OMEA Conference. His article, entitled “Conducting Reboot: Moving to the Podium With Confidence” was published in the Spring ACDA Central Division Newsletter. In May, Dr. Jones, artistic director of Remedy, a student-led a cappella ensemble, travelled to California to compete in the national finals of the Harmony Sweepstakes.

Dr. Susan Gardstrom contributed to the Music Therapy Handbook, co-authoring a chapter on music therapy methods. In April, Gardstrom co-presented a continuing education course titled “Working in the Music: Advancing Clinical Practice Skills” at the 2015 annual conference of the AMTA-Great Lakes Region. She was also honored with the Association of Ohio Music Therapists 2014 Past President’s Club Award for her significant contributions and service to music therapy.

The University of Dayton’s oboe instructor, Eileen Whalen, has once again been praised in the New York Times referring to her solos during the Glimmerglass Festival’s staging of Vivaldi’s The Magic Flute as “beautifully played.”

The University of Dayton Orchestra traveled on tour to Philadelphia and New York City performing concerts at four high schools. Under the direction of Dr. Patrick Reynolds, the forty-two members of the UD string orchestra represent a broad range of university academic majors.

Yukitada Onitsuka, tuba and euphonium instructor, performed a recital at the 2015 International Tuba Euphonium Association Midwest Regional Conference at Bowling Green State University in May. 52

Returning to campus to direct the Pride of Dayton Marching Band this fall is Tremon Kizer, who took a two-year leave of absence to begin his doctorate in conducting at the University of South Carolina.

Dr. Linda Hartley, who has coordinated UD’s Music Education degree program for many years, has accepted the position of Associate Dean for Undergraduate Learning in the School of Education and Health Sciences.

THE OHIO STATE UNIVERSITY High school seniors considering a future in music are invited to attend Practice Audition Day, Friday, October 23. 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. The first Audition Day for the 2016-17 academic year will be Thursday, December 10, 2015.

Additional dates are January 15, February 6 and 13, 2016. Visit music.osu.edu or contact music-ug@osu. edu.

In June and July the Ohio State Youth Summer Music Programs welcomed over 300 students from over 20 states to its various camps, including the newest programs: Double Reed Camp and Student Leadership Intensive. Over ninety teachers, from 26 states and 5 countries, attended the 30th Annual Ohio State String Teacher Workshop in July.

Associate Professor of Bands, Scott A. Jones, was named as a recipient of the Ohio State Alumni Award for Distinguished Teaching, presented by Ohio State leadership including School of Music Director Richard Blatti, and Alumni Association President Archie Griffin.

The School of Music was selected by the American String Teachers Association as the winner of the 2015 ASTA Institutional Leadership Award, designed to recognize institutions that offer high quality specialized instruction in string education.

The school is pleased to welcome Eugenia Costa-Giomi, professor, music education. Costa-Giomi is one of the leading international researchers in early childhood music education, music perception and cognition, and nonmusical benefits of music instruction.

Following the retirement of Ted McDaniel, Associate Professor Shawn Wallace has been appointed TRIAD

director of Jazz Studies. Michael Torres has been appointed as saxophone instructor, following the retirement of Jim Hill and Professor Steven Glaser has been appointed as keyboard area head. The school also welcomes Allison Grandey as full-time recruiting officer.

XAVIER UNIVERSITY Dr. Morten Kristiansen, music history, has been appointed Chair of the Department of Music.

Dr. Richard Schnipke, formerly on the faculty at Ohio State University, joined the Xavier Music Department in the fall of 2013. Schnipke serves the department as Director of Choral Activities and Director of Music Education. His duties at Xavier include conducting the Concert Choir and the XU Men’s Chorus, teaching choral methods, and supervising student teachers.

Xavier welcomes Dr. Ben Chamberlain to the faculty as our new Director of Instrumental Activities.

Chamberlain comes to Xavier from the University of Arkansas-Fayetteville, where he severed as Associate Director of Bands, conducting concert ensembles, overseeing athletic bands, and teaching courses in conducting and orchestration. At Xavier, Chamberlain will conduct the Symphonic Winds and Jazz

Bands as well as teach instrumental methods and supervise student teachers. Chamberlain holds degrees from Northwestern University, Louisiana State University, and the University of Minnesota, Twin Cities.

Robyn Lana joined the faculty in January 2015 as conductor of the XU Women’s Chorus. Lana is Managing Artistic Director of the Cincinnati Children’s Choir and is well known for her outstanding work and artistry with treble voices. She holds degrees from the University of Cincinnati College-Conservatory of Music.

Along with our current degree offerings in music education, performance, composition and history, the XU Department of Music is pleased to announce that beginning in the fall of 2015, we will now also offer a Bachelor of Arts in Sacred Music.

Former Music Department Chair and Director of Choral Activities, Dr. Tom Merrill, has been appointed Director of the Xavier University School of Arts and Innovation. This new school combines the traditional arts fields of study (art, film, music, theatre) with some innovative subjects: a degree program in human-centered making and a minor in innovation.

Bachelor of Arts in Music Bachelor of Arts in Music Education

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IN MEMORIAM Robert D. Jorgensen December 26, 1945 - July 4, 2015 Robert DuBois Jorgensen, who led The University of Akron (UA) band program for 26 years, passed away unexpectedly on the evening of July 4th, soon after doing what he loved: conducting a band.

Following his retirement from The University of Akron in 2013, Jorgensen continued conducting the Freedom Brass Band, a position he had held since 2006.

He was conducting that ensemble during a Fourth of July celebration at Lock 3 in downtown Akron when he fell ill.

Mr. Jorgensen was born December 26, 1945, in Springfield, Ill. He was preceded in death by his father, also named Robert and also a band director. He is survived by wife of 41 years, Anne Jorgensen; daughter, Laura Anne Jorgensen of Eugene, Oregon; his mother, Mary Elizabeth “Betty” Jorgensen; brothers, Richard and Nancy Jorgensen of Hot Springs Village, Arkansas, and David and Kelly Jorgensen of San Antonio, Texas; sister, Mary Jorgensen of Bloomington, Ill. Mr. Jorgensen earned a bachelor’s degree from the University of Illinois, where he was a student of Mark H. Hindsley, and a master’s degree from Michigan State University, where he was a student of Leonard Falcone and Kenneth Bloomquist. From 1969-1972, he was euphonium soloist with the United States Army Field Band in Washington, D.C., Hal Gibson and Samuel Fricano, conductors. Prior to joining the faculty at The University of Akron in 1987, Mr. Jorgensen was on the faculty at Morehead State University, Kentucky, and was director of bands at Midwestern State University, Texas. His concert band in Texas performed for the Texas Music Educators Association convention and the Texas Bandmasters Association convention.

Prior to retiring from The University of Akron School of Music, Mr. Jorgensen was director of bands, professor of music, and assistant director of the school.

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His UA colleagues unanimously supported him receiving the distinction of “professor of music emeritus” and “director of bands emeritus,” and he was later honored by the City of Akron with a proclamation declaring October 5, 2013, as “Robert D. Jorgensen Day.” Under Mr. Jorgensen’s leadership, The University of Akron Symphonic Band was invited to perform at 11 conferences of the Ohio Music Education Association; the 1992 conference of the College Band Directors National Association (CBDNA) in East Lansing, Michigan; the 1998 CBDNA conference in Kansas City, Missouri; the 2004 CBDNA conference at the Cincinnati Conservatory/College of Music; and the 2003 American Bandmasters Association Convention at the University of Maryland in College Park, Maryland.

The UA Symphonic Band also performed at Severance Hall in Cleveland in April 2003 and toured several European countries in 2008.

Mr. Jorgensen was widely honored as a music educator and conductor. He received the Outstanding Bandmasters Award from the International Assembly of Phi Beta Mu, International Bandmasters Fraternity, at the Midwest Clinic in Chicago, Illinois, in 1999. He received the Citation of Excellence Award from the National Band Association in 1981 and the A. Frank Martin Award from Kappa Kappa Psi in 1992. In 1991, Mr. Jorgensen was elected to membership in the prestigious American Bandmasters Association and was a past-president of that organization, having been elected during the 74th annual convention in Miami, Florida, in March 2008. He was also past president of the MidAmerican Conference Band Directors Association.

“Words cannot adequately express how much Bob’s mentorship and guidance has, and will continue to mean for The University of Akron bands. I know his legacy will be honored by all who have known him and TRIAD

by those students who will be influenced by his memory in the future. Bob’s greatest impact will continue through the countless lives he touched both musically and personally. The number of students and faculty he inspired and mentored are numerous beyond imagination.” — Dr. Galen Karriker, UA director of bands and associate professor of music, who worked with Bob for 15 years.

“The entire University of Akron community is saddened to learn of the passing of Robert Jorgensen. Bob was a dedicated and devoted band director, with a special ability to connect with students — encouraging them to be the best they could be, both in the band and as individuals. His care and concern for them during his 26 years at UA was legendary.” — University of Akron President Scott L. Scarborough “Bob was a friend, colleague, and mentor to me. We talked about bands, marches, and being conductors. He conducted Medina Community Band a number of times and each time he got on the podium we learned more about bringing the music from the notes on the page. What he has taught me, and so many others, will be passed on to thousands of future musicians.

Bob died after conducting the Sousa march Washington Post.

He was doing what he loved doing, right to the very last.

We will miss you Bob, but we won’t forget your friendship or what you taught us!” — Marcus Neiman, conductor of Medina Community Band.

A private family committal service took place on July 23 at Ohio Western Reserve National Cemetery, followed by a celebration of life reception at Guzzetta Hall, home of The University of Akron School of Music.

Memorial gifts can be made in Jorgensen’s name to The Robert D. Jorgensen Endowed Fund for Music Majors Enrolled in University of Akron Concert Bands, The University of Akron Foundation, Akron, OH 443252603.

See more at: http://www.uakron. edu/im/news/rememberinglongtime-band-director-robertjorgensen/ OCTOBER/NOVEMBER 2015

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What Can the Jazz Education Connection of Ohio Do for You? Dan Nicora; JECO President/ Bill Burns; Past-President

As we begin another school year it is a good time to renew your JECO membership. And if you’re not a member please consider joining JECO. We have many events JECO sponsors each year such as The Intercollegiate Jazz Ensemble which features the best collegiate musicians from all over the state. The JECO/Stantons reading band which gives directors a chance to hear some of the best new music written for jazz ensemble. We also sponsor three clinics at the OMEA professional conference. We need your support. For only $35.00 you gain access to member benefits. Unlock resources by joining JECO and gaining access to premium content, including videos, lesson plans, arrangements, and personal contact with other members. We hope you will join us and consider getting involved more in JECO. http://www. jecohio.org Join us today!

The heart of JECO is service. We want to serve jazz educators and promote jazz education in Ohio schools. In addition to our OMEA clinics and the Intercollegiate Jazz Ensemble, JECO serves Jazz educators in a number of ways. These include our online resources, consulting, promotion of jazz events, and advocacy. Just in the past year, JECO has helped with the Three Rivers Jazz Festival in Cincinnati Ohio and hosted the Miami Valley Jazz Combo invitational in Dayton. We have promoted various jazz concerts and jazz camps including the Miami Valley Jazz Camp in Dayton and the Roberto Ocasio Latin Jazz Music Camp in Cleveland.

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I have had the pleasure of being a part of JECO for the past 8 years and honestly believe our online resources are the best kept secret on the internet. If you are dealing with a tight budget and limited time, JECO is here for you! We currently have over a dozen big band and combo charts on our website that are absolutely FREE to our members. Having played many of these charts with my own school jazz ensembles and combos, I can assure you that they are hip!

In addition, we also have an original composition composed and arranged by our past treasurer, Professor Jay Miglia, dedicated to our fantastic organization entitled The Jazz Connection. Our website also includes pedagogy for jazz improvisation that students can utilize at home, past TRIAD articles, and clinic handouts from our OMEA sessions.

What about General Music Teachers? JECO has lesson plans that include movement activity, an original song that celebrates “Jazzy Ohio”, and a fun game called “Bebop Bingo” for grades 5-8. Some resources are free, but most are for members only. If you have a resource to share, please do! These activities are hands on, fun, and promote Jazz awareness!

Jazz music is an incredible way to promote diversity, creativity, and self-expression. It’s a product of the American experience and our gift to the world. I encourage you to visit http://www.jecohio.org and become part of our mission. Our organization is only as strong as its members. We look forward to hearing from you!

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Notes from OCDA Loren C. Veigel; OCDA President

I am delighted and appreciative for the opportunity to serve the choral community as President of the Ohio Choral Directors’ Association, part of the American Choral Directors’ Association (ACDA).

We celebrate the healthy and beneficial affiliation we share with OMEA. As you make your plans for the coming season, keep in mind the many ways OCDA can serve, enrich, and educate our colleagues. As it’s been said, “Membership has its perks.”

1. Members of OCDA receive the Choral Journal, the regional Resound, and OCDA News, all of which are full of insightful articles and valuable learning tools.

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2. OCDA will again sponsor three Reading Sessions at OMEA Conference, highlighting choral selections appropriate for College/ University choirs; High School and Middle School choirs; and Elementary and Children’s Choirs. These sessions offer participants “take home” packets worth hundreds of dollars, filled with submissions from our Repertoire and Standards Board members, experts in their respective areas of conducting. Choral directors are constantly seeking new repertoire; these sessions effectively address this need.

Priceless!

3. Additional workshops offered at OMEA are sponsored by OCDA and presented by out-

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standing educators and musicians.

4. OCDA is teaming with OMEA to develop the new All-State Children’s Chorus program, which promises to be a wonderful addition to the All-State Ensemble system.

5. Our annual OCDA Summer Conference encompasses three relaxing days in the beautiful environs of Otterbein University in Westerville. Next year’s conference will feature clinicians Rodney Eichenberger of Florida State University, one of our profession’s finest conducting instructors, and Andrea Ramsey of University of Colorado at Boulder, one of the hottest young composers in the field. Additional clinicians will offer invaluable professional development opportunities; reading sessions will again provide hundreds of dollars worth of new materials; and the conference will offer the opportunity to interact and share ideas with a wide range of choral colleagues.

The event is scheduled for June 20-22, 2016

OCTOBER/NOVEMBER 2015

6. The semi-annual Central Division Conference of ACDA will be held in Chicago from February 25 – 27, 2016, at the Palmer House. This great event promises to offer great performances, reading sessions and clinics, as hundreds of choral colleagues share professional development opportunities with one another.

Indeed, I am pleased to serve my beloved OCDA as President – no other organization or group of people has made a larger positive impact on my career and both personal and professional development than OCDA. We are proud of our service to the profession, and to YOU… and we wish all the great educators in the state of Ohio a successful school year. Keep in mind that YOU are one of the most positive elements in the every day life of your students, as YOU change lives for the better!

We are all blessed to teach music; lend your voice each day to help make the world a better place.

Chorally yours, Loren

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PROFESSIONAL DEVELOPMENT & ASSESSMENT Workshops, Continuing Education,Camps, and More for Teachers & Students THE OHIO STATE UNIVERSITY SCHOOL OF MUSIC Practice Audition Day October 23, 2015 For high school seniors considering a college audition Register by: October 19 - music.osu.edu Ohio State University Marching Band Youth Concert Schottenstein Center For school groups of all ages November 12, 2015 • 10 a.m. – 12 p.m.

Register at: music.osu.edu Music Celebration Youth Concert For school groups, grades 4-12 Mershon Auditorium December 4, 2015 • 10 a.m. – 12 p.m.

Register at: music.osu.edu

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Viola Intensive Weigel Auditorium Four-day residency for advanced violists. Select “Artist Track” or “Audition Track” January 8-11, 2016 Register by: December 11, 2015 - music.osu.edu High School Honor Band Weekend January 15-17, 2016 Submit application and audition recording through Acceptd® Apply by: November 6, 2015 - music.osu.edu

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2015 WIND BAND INVITATIONAL AND NEW CONCERT BAND MUSIC READING CLINIC Nov. 20 – 21

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2015-2016 Audition Days Nov. 13 and Dec. 5, 2015 | Jan. 18 and Feb. 5, 15, 20, 27, 2016 To schedule a scholarship audition, visit www.wittenberg.edu/music/audition.

For more information about our music programs and scholarships, contact Dr. Daniel Kazez, Professor of Music and Music Audition Coordinator, dkazez@wittenberg.edu,tel. 937-327-7354 (or 800-677-7558, ext. 7354).

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2016

QUEEN CITY

PROFESSIONAL DEVELOPMENT CONFERENCE JANUARY 28-30, 2016

AN INVITATION FROM THE DIRECTOR OF PROFESSIONAL DEVELOPMENT MARK HENSLER The 2016 OMEA Professional Development Conference A Command Performance in the Queen City!

After a successful return to Cleveland, we are looking forward to traveling south to Cincinnati for the 2016 OMEA Professional Development Conference – the “Queen City Conference”.

The 2016 PDC team of content chairs, standing chairs and OMEA staff has been hard at work securing the top presenters and clinicians in the field of music education.

The 2016 PDC will offer the biggest GM track in OMEA history and the largest overall PDC schedule since 1998. Notable changes include a restructured instructional-hour program (CEUs); an earlier start on Thursday (12:00 p.m.); an All-State Children’s Chorus program on Thursday afternoon; an increased number of concert venues; more “demo” sessions and many clinicians making their OMEA debut.

Don’t miss your chance to explore topics such as Ohio’s resident educator program; managing social media; improving classroom behavior; designing lessons with the new standards; teaching in rural and low-income communities along with focused sessions in every content area. The exhibit hall in the Cincinnati Convention Center will be filled with many familiar faces and a few new ones. The blind-audition process for performing groups has resulted in another program of outstanding ensembles of all shapes and sizes. When you add world-class All-State ensembles, TI:ME technology sessions with plentiful networking and social opportunities – the Queen City Conference is not to be missed!

Make your plans NOW to join us in Cincinnati, January 28-30 for the 2016 Queen City Conference. Still undecided? Be on the lookout for “Clinician Spotlight” reports featuring some of the outstanding presenters slated for the 2016 PDC. The “Conference” tab (left side of OMEA homepage) will also host a preregistration link; information on the new Instructional-Hour Certificate Program (IHCP); graduate credit options; housing reservations; reception request form and more!

2016 PDC Team Mark Hensler, Director of Professional Development pd_director@omea-ohio.org OCTOBER/NOVEMBER 2015

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W

OHIO MUSIC EDUCATION ASSOCIATION

2016 PROFESSIONAL DEVELOPMENT COMMITTEE The 2016 OMEA Professional Development Conference

CINCINNATI

Mark Hensler

2016

Director of Professional Development

QUEEN CITY

ALL-STATE CHAIR

JANUARY 28-30, 2016

Kathleen McGrady

PROFESSIONAL DEVELOPMENT CONFERENCE

CONTENT CHAIRS Robert Tanis Band

Kent Vandock Choral

BethAnn Hepburn General Music

Jan Diehl Jazz

Trista Emmons Orchestra

Dale Nawrocki On-Site Registration

Kyle Phillips Properties Chair

STANDING CHAIRS D. Scott Eversdyke Adjudicated Events

Richard Edwards Higher Education

Kay Edwards Multi-Cultural

Stephen Lytle OCMEA

Birch Browning Research

Lalene Kay Special Learners

Melinda Wallace Curriculum/Assessment

ALLIED ORGANIZATIONS Dan Nicora JECO Gretchen Zunic OSTA OCTOBER/NOVEMBER 2015

Tim Katz OAAE

Loren Veigel OCDA Justin Riley TI:ME 65

2016 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE

SELECTED PERFORMING ENSEMBLES Capital University Symphonic Winds

Little Miami Select Women's Chorale

Cincinnati Jr. Youth Wind Ensemble

Ohio University Women's Ensemble

Dublin Jerome Wind Symphony

Jackson Middle School Symphonic Choir

Fillmore Wind Band

Northern Hills Bassoon Ensemble

Mason High School Wind Symphony

University of Cincinnati CCM Brass Choir

Mason Middle School Symphonic Winds

University of Dayton Faculty Brass Quintet

Pickerington High School Symphonic Band

Firestone High School Jazz Band

Sycamore Junior High School 8th Grade Band

Jackson High School Seven O'Clock Big Band

University of Akron Symphonic Band

Jacob Coy Middle School Jazz Band

Wilmington High School Wind Ensemble

University of Cincinnati Jazz Lab Band

King’s High School 2Knight 2Knight

University of Toledo CrossCurrents

Bexley High School Vocal Ensemble

University of Toledo Latin Jazz Ensemble

Capital University Chordsmen

Cincinnati Symphony Youth Concert Orchestra

Capital University Philomel

Dublin Youth String Orchestra

Cincinnati Boychoir

Olentangy Liberty High School Chamber Orchestra

Cincinnati Children's Choir

Sycamore Junior High School Orchestra

College of Wooster Chorus

Perry High School Percussion Ensemble

Gahanna Lincoln High School A Capella Choir

Wright State University Percussion Ensemble

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2016 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE January 28, 29, 30, 2016, Cincinnati, Ohio • Duke Energy Center Exhibitors as of August 10, 2015 and subject to change.

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 CCIS Travel Cedarville University Century Resources, Inc. Charms Office Assistant CIM K-12 Distance Learning Classic Pianos Cleveland State University College of Wooster, The Columbia College Chicago Columbus Pro Percussion Conn-Selmer, Inc. DeMoulin Brothers & Company Eastman Music Company Educational Tours, Inc. EPN Travel Services Festivals of Music/Music in the Parks Fred J. Miller Inc. Getzen Company GIA Publications, Inc. Great Day! Tours

Hal Leonard Corporation Heidelberg University School of Music Heritage Music Press Interlochen Center for the Arts Jet Music Jupiter Band Instruments Macie Publishing/Ed Sueta Music Publications Malone University Manhattan Concert Productions Marietta College Miami University Mollard Conducting Batons Motter’s Music House, Inc. Music & Arts Music Celebrations International Music for All Music is Elementary Music Travel Consultants Musicians Repair Service Muskingum University National Association for Music Education (NAfME) New Era/Crowne Excellence Noteworthy Tours Ohio Foundation for Music Education/Tom Batiuk Ohio Northern University Ohio State University School of Music, The Ohio University Otterbein University Pearl Corporation

Pee-Jay’s Fresh Fruit Pellegrino Music Center QuaverMusic.com Rettig Music, Inc. Royalton Music Center/ Professional Suite Shar Products, Inc. Shirley’s Gourmet Popcorn Company Singing Buckeyes Soundwaves Recording StageRight Corporation Stanbury Uniforms, Inc. Stanton’s Sheet Music 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 University of Toledo, The VanderCook College of Music Wenger Corporation West Music Company Wittenberg University Wright State University School of Music Yamaha Corporation of America Yankee Candle Fund Raising Youngstown State University Dana School of Music

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 2015

67

Pre-Registration Form

2016 OMEA Professional Development Conference Cincinnati, Ohio • January 28-30, 2016 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 8, 2016. Postmarks after this date will not be accepted.

• All refund requests must be made in writing. Refunds after January 8, 2016 will be assessed a $15.00 processing fee.

• No refunds after January 22, 2016.

Online pre-registration is available until January 15, 2016 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

___TI:ME

___ Your school pays any portion of your conference expenses

OMEA MEMBER

NON-MEMBER

_______ Pre-Registration $135 _______ With IHCP Track* $145 On-Site Registration $155 (IHCP Not Available) _______ Pre-Registration $225 _______ With IHCP Track* $235 On-Site Registration $250 (IHCP Not Available)

OHIO MUSIC EDUCATION AS S O C I AT I O N

CINCINNATI

2016

QUEEN CITY

PROFESSIONAL DEVELOPMENT CONFERENCE JANUARY 28-30, 2016

*IHCP - The optional Instructional Hour Certificate Program (IHCP) requirements include six sessions, one concert and a written reflection.

Registrants should update their IPDP to include OMEA IHCP participation and submit the plan along with documentation (see OMEA website) to their LPDC for approval PRIOR to attending the PDC. Participants will receive a 10-hour instructional certificate that may be converted into 1 CEU (this is not for college credit.) Request for proof of attendance without IHCP 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

Housing Form

2016 OMEA Professional Development Conference Cincinnati, Ohio • January 28-30, 2016 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 01/16 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: 513-621-2156 - Do not mail after faxing.

3.) MAIL: Send a completed form (one copy per room) to:

OMEA Housing Bureau 525 Vine Street, #1500 Cincinnati, OH 45202

HOTEL RATES Hotel

Single

Double

Triple

Quad

Hilton Cincinnati

$165

$165

$175

$185

Hyatt Regency

$159

$184

$184

$184

Millennium

$146

$156

$156

$156

Rates quoted above are subject to 17.5% tax (Subject to change).

Hotel Preference:

Deadline for Special Rates is January 5, 2016.

1. __________________________________________________

• No telephone reservations will be accepted by the Housing Bureau.

2. __________________________________________________

• • • • •

3. __________________________________________________

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 5, 2016, rooms and rates are based on availability.

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

Name: _____________________________________________ Address:___________________________________________________________ City: _______________________________________________ State: ________________ Zip: _________________________ Phone: ______________________________________________ Fax: ________________________________________________________________ Email Address:______________________________________ Reservation Deposit: Many 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 card deposits may be charged at the discretion of the hotel holding your reservation on or after January 5, 2016. Credit cards must be valid through 01/16 in order to be considered a proper deposit.

 

American Express Visa

 

Master Card Discover

Card #  Expir. 

/ 

Name: ____________________________________________________ Signature: _______________________________________

Arrival Date: _____________________________________________________ Departure Date: _ __________________________________ List Names of all occupants (List all occupants' arrival and departure dates if different.)

____________________________________________________ ____________________________________________________ ____________________________________________________ ____________________________________________________ Room Type Preference*:

 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 ____________________________________________________ * Note: All hotels are nonsmoking. * Note: Room type preferences and special requests cannot be guaranteed.

Changes/Cancellations Continue to use the OMEA Housing Bureau for all changes or cancellations through January 5, 2016 (4:00 p.m. EST) via internet, fax, or mail. After January 5, 2016, all new reservations, changes, and cancellations must go through the hotel.

Do not contact the hotels directly until after January 5, 2016.

NEW STREAMLINED INSTRUCTIONAL HOUR

CERTIFICATE PROGRAM (REPLACES HQPD) You asked and we listened! The contact-hour program has been revamped to better meet the needs of our attendees. The required meeting has been replaced with an online tutorial and the format has been trimmed to be more sleek and efficient. The new program provides greater flexibility in session selection and also includes one performance selection (another frequent request!).

OHIO MUSIC EDUCATION A S S OC I ATI O N

CINCINNATI

2016

• Are you planning to attend the 2016 PDC in Cincinnati?

• Are you in need of contact hours or verification of completion for your IPDP or reimbursement purposes?

• Why not enroll in OMEA’s Instructional Hour Certificate Program (IHCP)?

QUEEN CITY

PROFESSIONAL DEVELOPMENT CONFERENCE JANUARY 28-30, 2016

HERE’S HOW IT WORKS: Pre-register for the Professional Development Conference and choose the IHCP option.

Attend six sessions of your own choosing.

Attend one concert of your own choosing.

Electronically submit a post-conference reflection to the Director of PD by February 16, 2016.

(Required format available on the OMEA website.)

5. Satisfactorily complete all requirements and receive an instructional hour certificate (10 hours) from the Ohio Music Education Association.

1.

2.

3.

4.

REMEMBER: 1. You must pre-register to participate in this program.

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

1.

2.

3.

4.

5.

STILL UNDECIDED? CONSIDER THE MANY BENEFITS OF ATTENDING THE PDC: Attend relevant presentations 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 Be sure to check out the IHCP video on the OMEA website for more information!

See the OMEA website, TRIAD, OMEA Blog and Social Media outlets for updates on presenters, topics, performing ensembles and special events.

Still not enough? How about graduate credit? Complete the IHCP and you’re almost there!

Look for the Ashland credit page for more details or contact Mark Hensler at pd_director@omea-ohio.org.

70

TRIAD

NEW STREAMLINED GRADUATE CREDIT PROGRAM

2016 OMEA PROFESSIONAL DEVELOPMENT CONFERENCE GRADUATE CREDIT OPTION - $209 You asked and we listened! The graduate credit program has been revamped to better meet the needs of our attendees. The required meeting has been replaced with an online tutorial and the format has been trimmed to be more sleek and efficient. The new program provides greater flexibility in session and performance selections.

• • • •

Are you looking for affordable college credit?

Do you need credit hours to renew your license or for salary advancement?

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

Why not take advantage of this special program designed specifically for 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.

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 twelve (12) PDC sessions of your own choosing. Your selections may include no more than four (4) concerts.

4. Electronically submit a post-conference reflection to the Director of PD by February 16, 2016.

The required format and rubric for this reflection is available on the OMEA website. A reflection rating of Exemplary or Satisfactory (using rubric) fulfills the graduate credit requirement. The credit is offered on a S/U basis. All work must be submitted via email.

REMEMBER: You must pre-register for the PDC to earn graduate credit. 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 2015

71

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BE REC O G N I Z E D 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 Cincinnati on Saturday, January 30, 2016. 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 8, 2016 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.”

OCTOBER/NOVEMBER 2015

73

Ohio Music Education Association EXHIBIT HALL VISITATION HOURS Exhibit Hall A - Duke Energy Center January 28-30, 2016 THURSDAY, JANUARY 28 1:00 pm to 6:00 pm FRIDAY, JANUARY 29 9:00 am to 5:00 pm SATURDAY, JANUARY 30 9:00 am TO 12:30 pm Support your conference!

Patronize our exhibitors!

74

TRIAD

OMEA GR ADUATE RESEARCH FORUM

GRADUATE RESEARCH R O U N DT A BLE Thursday, January 28, 2016 10 a.m. – 3:30 p.m.

Hyatt Regency Findlay’s Room (2nd Floor)

Featured Speaker: Dr. Marie McCarthy Dr. Marie McCarthy is a Professor of Music Education and Director of Research at the University of Michigan School of Music, Theatre and Dance. She holds a B.A., H.D.E. from University College, Dublin, Ireland and received her M.M. and Ph. D. from the University of Michigan. Her research studies to date focused on the sociocultural and socio-historical foundations of music education, in particular the study of music transmission, the relationship between music education processes in formal settings and those in the culture at large.

Her current research interests include the application of sociological perspectives to music transmission contexts, and exploration of the spiritual dimensions of arts education.

SCHEDULE

9:30 a.m

10:00 a.m.

Continental Breakfast Presentation by Dr. Marie McCarthy

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/GRF2016.

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

OCTOBER/NOVEMBER 2015

75

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 2016 OMEA Professional Development Conference

CALL FOR PROPOSALS Submission Deadline: October 26, 2015 A graduate research roundtable session will be held at the 2016 OMEA Professional Development Conference on January 28, 2016, from 1:30 to 3:30. Six Ohio graduate music education students will be selected to present their in-progress dissertations, theses, or other research projects in a conversational setting to Ohio college and university music education faculty and students.

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

The format will be as follows: Presenters 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 members, other graduate students, and any additional people interested in participating.

Students presenting their research will give an 8- to 10-minute overview of their study, preferably with a PowerPoint presentation on their own battery-driven laptop computer. This will be followed by a 10- to 15-minute discussion among the presenter and the group, facilitated by a faculty member. 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 2-hour session.

To apply to present your research-in-progress, complete the form at the URL listed below no later than midnight on October 26, 2015. 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 1, 2015.

Online proposal submission: http://tinyurl.com/grr2016 If you have any questions about this process, please contact Dr. Nathan Kruse at nathan.kruse@case.edu or 216-368-0675.

76

TRIAD

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OHIO MUSIC EDUC ATION ASSOCIATION Research Committee

RESEARCH POSTER SESSION 2016 OMEA Professional Development Conference

CALL FOR PAPERS Submission Deadline: November 1, 2015

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 Cincinnati, Ohio January 28-30, 2016.

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, 2015. 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 [omeapostersession2016@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 2015

79

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

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

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

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

_____OCMEA Member

_____Parent

_____Friend of Music Education

Donation Information: Donation Amount:

$___________________

Donation Category:

_______ Foundation General Fund for Financial Growth

_______ OMEA Memorial Scholarship Fund

_______ Charles H. Benner Leadership Academy

_______ This is my Annual Campaign Contribution for calendar year 2015.

(Check area for donation)

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

(Example: John and Jane Smith) _________________________________________________ , or

please do not list my/our names.

This gift is: In Recognition of:______________________________________________________________________

In Memory of:__________________________________________________________________________

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

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

A donation acknowledgment letter will be provided for tax purposes.

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

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

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

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

Attn: David N. Adamson, Development Director

5379 West Mill Drive, Highland Heights, OH 44143-3144 80

TRIAD

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PUBLICATION SCHEDULE

TRIAD ISSUE October/November 2015 December ‘15/January ‘16 April/May 2016

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

DEADLINE DATE* August 10, 2015 October 5, 2015 February 15, 2016

POSTING DATE** October 5, 2015 December 7, 2015 April 11, 2016

*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: Marc Parulekar • 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 click the Menu Bars on the homepage and then click on Advertising Venues and/or contact OMEA Business Manager for assistance.

ADVERTISERS/WEBSITES Baldwin Wallace University . . . . . . . . . . . http://www.bw.edu/conservatory. . . . . . 46

Ohio Northern University. . . . . . . . . . . . . . . http://www.onu.edu/music. . . . . . . . . . . . . 31

Blue Lake Fine Arts Camp. . . . . . . . . . . . . . http://www.bluelake.org. . . . . . . . . . . . . . . 57

Ohio State University, The. . . . . . . . . . . . . http://www.music.osu.edu. . . . . . . . . . . . . . 7

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

Ohio University. . . . . . . . . . . . . . . . . . . . . . . . http://www.finearts.ohio.edu/music. . . . 33

Bowling Green State University . . . . . . . http://www.bgsu.edu/music. . . . . . . . . . . 11

Otterbein University. . . . . . . . . . . . . . . . . . . http://www.otterbein.edu . . . . . . . . . . . . . 57

Capital University. . . . . . . . . . . . . . . . . . . . . . http://www.music.capital.edu. . . . . . . . . . 61

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

Case Western Reserve University . . . . . . . http://music.case.edu. . . . . . . . . . . . . . . . . . . 22

Royalton Music Center. . . . . . . . . . . . . . . . . http://www.royaltonmusic.com. . . . . . . . 23

CCIS Travel. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . http://www.ccistravel.com. . . . . . . . . . . . . 77

Smoky Mountain Music Festival. . . . . . . . . http://www.smmfestival.com. . . . . . . . . . 15

Cleveland State University. . . . . . . . . . . . http://www.csuohio.edu/class/music. . . 51

Soundwaves Recording. . . . . . . . . . . . . . . . http://www.soundwaves.org. . . . . . . . . . . 60

CMS Publications . . . . . . . . . . . . . . . . . . . . . . . http://www.cmspublications.com. . . . . . 72

Stanton’s Sheet Music. . . . . . . . . . . . . . . . . . . http://www.stantons.com. . . . . . . . . . . . . . 81

College of Wooster, The. . . . . . . . . . . . . . . . http://www.wooster.edu/music. . . . . . . . 64

Steve Weiss Music. . . . . . . . . . . . . . . . . . . . . . . http://www.steveweissmusic.com. . . . . . 17

DePauw University . . . . . . . . . . . . . . . . . . . . http://www.depauw.edu. . . . . . . . . . . . . . . 61

Summit Tour & Travel. . . . . . . . . . . . . . . . . . http://www.summittourtravel.com. . . . . 38

Festivals of Music. . . . . . . . . . . . . . . . . . . . . . http://www.epntravel.com. . . . . . . . . 29, 59

University of Akron, The. . . . . . . . . . . . . . . http://www.uakron.edu/music. . . . . . . . . 37

Heidelberg University. . . . . . . . . . . . . . . . . http://www.heidelberg.edu. . . . . . . . . . . . 49

University of Dayton. . . . . . . . . . . . . . . . . . . http://academic.udayton.edu/music . . . 50

Malone University. . . . . . . . . . . . . . . . . . . . . http://www.malone.edu/music . . . . . . . . 72

University of Mount Union . . . . . . . . . . . . http://www.mountunion.edu/music . . . 35

Marietta College. . . . . . . . . . . . . . . . . . . . . . . http://www.marietta.edu/~musc. . . . . . . 42

West Music Company. . . . . . . . . . . . . . . . . . . http://www.westmusic.com . . . . . . . . . . . . 57

Messiah College . . . . . . . . . . . . . . . . . . . . . . . . http://www.messiah.edu/conducting. . . 9

Wittenberg University. . . . . . . . . . . . . . . . . . . . http://www.wittenberg.edu/music. . . . . . 62

Musicians Repair Service. . . . . . . . . . . . . . . . http://www.mrsakronohio.com . . . . . . . . 78

Wright State University. . . . . . . . . . . . . . . . . http://www.wright.edu/music. . . . . . . . . . . 45

Muskingum University . . . . . . . . . . . . . . . . . http://www.muskingum.edu/dept/music ..53

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

NAfME/OMEA. . . . . . . . . . . . . . . . . . . . . . . . . . . http://jointoday.nafme.org/omea. . . . . . 13

Youngstown State University. . . . . . . . . . http://www.ysu.edu/dana. . . . . . . . . . . . . 48

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

Bold signifies a Corporate/Institutional Partner

82

TRIAD

Christian Howes Depends on Yamaha.

“The Yamaha Silent Electric Violin rocks. I have used it for 15 years and it keeps getting better. It’s the only electric violin that sounds great clean and still has the flexibility to be processed for use with multiple effects.”

-Christian Howes

Renowned Jazz Violinist/Composer